tag:marshallmcdonald.com,2005:/blogs/ranting?p=1RANTING2023-03-01T09:01:13-05:00Marshall McDonaldfalsetag:marshallmcdonald.com,2005:Post/71629032023-03-01T09:01:13-05:002023-10-16T10:52:47-04:00Playing Cherokee with Plas Johnson<p>On January 28, 2013 I had my first visit at Mr Plas Johnson's house in LA because of the passing of Jackie Kelso. While we were hanging Plas said let's play and put on the Aebersold track with Cherokee in all 12 keys. I just recently found the two recordings on my old old iPhone. Folks had asked me on Facebook were they any recordings? Here's the first one of two that I found. Remember Plas was basically retired at ths point in his life and wasn't out playing much like he used to, and we were just having some fun, and I got a great lesson from him. I had a ball and learned that I should play some melody, and stop running my ii-V patterns, although that's hard to stop. After Cherokee we played It’s You or No One from Aebersold Burnin’ CD. A very fine day. </p><p>I've included the 12 minute clip of us practicing and playing along with Aebersold Cherokee in 12 keys, and then It's You Or No One. Plas takes first solo on Cherokee, then we alternate each key. It was fine day and a learning experience. </p>12:38Marshall McDonaldtag:marshallmcdonald.com,2005:Post/71627682023-03-01T02:45:21-05:002023-03-01T04:23:53-05:00Is Jazz Now A COMBAT SPORT?<div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xdj266r x126k92a" style='-webkit-text-size-adjust:auto;-webkit-text-stroke-width:0px;caret-color:rgb(5, 5, 5);color:rgb(5, 5, 5);font-family:system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif;font-size:15px;font-style:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:auto;overflow-wrap:break-word;text-align:left;text-decoration:none;text-indent:0px;text-transform:none;white-space:pre-wrap;widows:auto;word-spacing:0px;'>
<div style="font-family:inherit;text-align:start;" dir="auto">I realized years ago that I wasn't a "genius" musician and decided that one could be a mature sounding musician and be comfortable aiming for excellence. Musicians that sound mature and do the job can work all week long. It was Jackie Kelso who helped show me that, but maybe everyone wants to be a musical genius now. Geniuses are far and few between. For educational purposes only: Let's listen to the player below…….</div><div class="video-container size_xl justify_center" style=""><iframe data-video-type="youtube" data-video-id="R-KzFvp8gRs" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/R-KzFvp8gRs?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style='-webkit-text-size-adjust:auto;-webkit-text-stroke-width:0px;caret-color:rgb(5, 5, 5);color:rgb(5, 5, 5);font-family:system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif;font-size:15px;font-style:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;margin:0.5em 0px 0px;orphans:auto;overflow-wrap:break-word;text-align:left;text-decoration:none;text-indent:0px;text-transform:none;white-space:pre-wrap;widows:auto;word-spacing:0px;'>
<div style="font-family:inherit;text-align:start;" dir="auto">This is a post-coltrane player. I'm sure some will know the time period and the player. I posted this because it might be surprising to people. This is borrowed from the Perla Archive of Loft Sessions. I don't own this material, yet I wanted to use it as a demonstration of what was happening after John Coltrane passed away. This is 1971 and the player is Dave Liebman. They didn't have a system of approach notes, chromatic cells, and triadic devices, what they did was listen to Trane and absorb the material and each player found his own way to understand it, yet at the center of it all, HEARING AND LISTENING, were centric to what they accomplished. If jazz is going to succeed we need an audience to listen to it, and I fear that the current direction that the music is headed will not keep it's 1% of the listeners. </div>
<div style="font-family:inherit;text-align:start;" dir="auto"> Music should not be a combat sport where MORE MEANS BETTER, these musicians in the late 60's ended up playing like John Coltrane because they LIVED THAT EXPERIENCE, in the exact same way that Jackie Mac and Phil Woods etc lived the experience of Charlie Parker, and in every alto player at the time you heard a piece of Bird. Social Media has turned American Classical Music into a competitive sport, and that makes me sad and I would still rather listen to Trane and Grossman. We all need to speak from our heart and tell our story, I can always tell Jerry Bergonzi in a few moments from his own style developed in the post-Coltrane era. </div>
<div style="font-family:inherit;text-align:start;" dir="auto"> There was a scene in NYC, which I knew nothing of, I was a kid in the 60s, the loft scene and the music that Coltrane created changed not just the saxophone, but the piano, the bass, and the drummers and all the horn players. It was by playing together with each other that helped grow the music. It seems that jazz in 100 years has accomplished what took Classical music several centuries, I believe Jazz has been completely explored in all directions, we had our Classical, Baroque and 12 tone Row periods, and like Classical Music we've lost the audience because music is DANCE and FOLK music primarily for the masses. If a person works all week for some little money, they want to take their partner out on a date and have some fun, not be yelled at musically.</div>
<div style="font-family:inherit;text-align:start;" dir="auto"> That's the reason Beyonce and others are so popular. Jazz was very popular once when it was pop music, the songs they played were hits from movies. Bird took it into the Concert Halls, and changed it's direction, and he knew what he had done, but now we have to decide, where is the joy for the audience? What do we do next to get people to have some fun. Jackie Kelso told me that I had more than enough technique to play and have a long career, but I needed to learn to dance and put the dance in my music. There's no dance in much of jazz today, and many players are not realistic about their playing level. EVERY PLAYER SHOULD KNOW how they play, how well they play compared to the standards already established and how much they have achieved. We don't rely on accolades we should understand our level by our own judge and jury. There are levels in all music, and then there is the top tier. We should know where we are.</div>
</div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a" style='-webkit-text-size-adjust:auto;-webkit-text-stroke-width:0px;caret-color:rgb(5, 5, 5);color:rgb(5, 5, 5);font-family:system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif;font-size:15px;font-style:normal;font-variant-caps:normal;font-weight:400;letter-spacing:normal;margin:0.5em 0px 0px;orphans:auto;overflow-wrap:break-word;text-align:left;text-decoration:none;text-indent:0px;text-transform:none;white-space:pre-wrap;widows:auto;word-spacing:0px;'><div style="font-family:inherit;text-align:start;" dir="auto"> I hope the music, and at this point the WORLD survives, for as many on social media who are succeeding, the reality is, the middle class is under attack, and the wealth has been divided and music is always is a reflection of what is happening in Society. You can take that to the bank. Boomer out. (My pop's nick name for me.....) Let me know your thoughts below…..</div></div>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/71395042023-01-17T23:03:39-05:002023-03-03T07:32:05-05:00The Gene Perla Jazz Loft Archive - from the 70s & How I Found It in COVID Isolation 2020<p><a class="no-pjax" href="https://www.jazzhistorydatabase.com/archives/gene-perla/index.php" target="_blank" data-link-type="url" contents="The Gene Perla Jazz Archive Collection"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/310013/e15256a13821fb35b894a78c81790dab6c66c0ab/original/img-9875.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" />The Gene Perla Jazz Archive Collection</a></p><p>On March 2, 2020, after Abdullah Ibrahim cancelled out of the Chicago Symphony Hall and Blue Note NYC gigs, I quickly changed my flight to head back to Japan, where my wife already had gone. She lives and works in Japan, and I had been spending 1/2 of the year there, while touring out of the USA. We and the family had just finished a 10 day trip to New York City in February 2020, and at this time Asia and Japan were talking about some new flu that was just coming around. People were already wearing masks in Japan, and reports of a mysterious virus in China were slowly making it's way into the news, but not so much news about it in the USA yet. Japan had already closed all it's schools on March 1, was struggling with a toilet paper shortage as people went into a panic, because no one had any information on this "new flu". Was it a new SARS?</p><p>Right picture: Tokyo TCAT Station, the Limosine Bus to Narita Airport, I was the only person there traveling to the USA in September 2020</p><p><span class="text-small"><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/2a9b30e5d069170bcfbc0010ab8bc81489644bce/original/marshall-mcdonald-jazz-covid-flight.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpeg" class="size_m justify_left border_" alt="" /></span>At the end of February we had gone to see my friend, Clarinetist Anthony McGill at Lincoln Center with the New York Philharmonic, we went to a Broadway Show, shopping in the Village, spent two nights in a hotel a Rockfeller Center, walked all over Times Square, visited landmarks like Birdland, at Pizza, with NO idea of what was shortly around the corner. I also had played a week at Birdland with The Lionel Hampton Orchestra during the first week of February. When I caught that flight back to Japan on March 2, my wife had left me a box of masks to wear, explaining I should wear it on the ANA flight back, and I would need these. When I arrived in Japan, it was a much different world. The lounge was roped off, only can drinks were allowed, no foods, everyone was masked, fear and suspicion filled the lounge at Haneda Airport as I waited for my connection flight to Fukuoka. It was unbelievable to me. As we all know now, New York City became Ground Zero for COVID around March 15, and where I keep a place in Westchester County, where we had shopped at Trader Joes, Lord and Taylors, Starbucks, DSW, you name it, the virus showed up in Ossining and New Rochelle first. Wow. Why am I telling you all this, under a post about Gene Perla's Jazz Archive? </p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/310013/4335df2bf26a55fbb467d817905d392a6cadec5a/original/img-0557.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /></p><p>I had a lot of time to stay indoors, like all of us did, we had Netflix, and other streaming from the US, it was fun at first, but honestly, as time wore on, it changed all of us, the fear, the not knowing, the trepidation. WE still have it to this day, we are not the same people after this modern plague. Well during all that time maybe it was early 2021 I found the Gene Perla music archive on Facebook, and I was blown away. Bob Mintzer had told me stories about the famous Loft Sessions, and he wondered how young players would learn, because he commented that practicing by yourself is just half of the work, the other half is learning how to communicate musically with the rest of the band. We have to play with others to mature. Well I wrote a few of my close friends and sent them the link to the Gene Perla Treasure that I had found and I've included most of what I wrote below:</p><p>APRIL 2021:</p><p>Hey guys, I just found this from facebook. Maybe you know about it! Mintzer told me about all the loft sessions, and thats how folks learned to play, and playing with others is the only way to really learn jazz. Michael Brecker is one of the least developed of the group at first listen. BUT by 1971 in one year, Mike grew amazingly by the next archive. Still Grossman was the carrier of the flame. As Liebman said, Steve was the most early advanced of all of them Liebman also had it. Also I’ve been told that black players didn’t want to copy Trane, and kinda fell behind, Cedar, Elvin, Horace etc, hired the white players. I know from a player that Horace, when asked by this player, why don’t you hire black horn players, replied, cause they ain’t playin’ nothin’ right now. That changed when Marsalis, Donald Harrison, and others started back to study. </p><p>This is magnificent, and listen into all the loft sessions etc!! What we all heard about. I recording certain ones for study, using Chrome and an extension. Dave Liebman was really versed on the Coltrane language. </p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/310013/3d45b8aaaf83def0fccf1a202a4835c8196695b9/original/img-9891.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_left border_" /></p><p>When someone says Why do you play so modern, the question should be, “why do I play so old fashioned”. These loft tapes are 50 years old. The clickable Weblinks are below. </p><p>Four to start with: </p><p>LOWER WEBLINK: </p><p>82 Blues <br>(33:00). Has Liebman on tenor, Grossman on Soprano, Steve was 18 I believe. It’s a blues by Joe Farrell. All modal. Long piano solo, sax solos start around 6 minutes. </p><p>LOWER WEBLINK: </p><p>Brecker Ensemble 55 improv 3 </p><p>Liebman trio, next page, Night and Day, he was great in 1973, just amazing Coltrane connection </p><p> </p><p>UPPER WEBLINK: </p><p>Grossman on the 6. Pressure Point. </p><p>UPPER WEBLINK: </p><p>#8 Simone </p><p>Frank Foster on Simone with Elvin. Going into the Strastophere of altissimo before it was a thing! </p><p>I listened closely and determined it was Frank, I know his licks, and I can tell Joe was not in a good period of his playing, Farrell seemed to be good sometimes, bad others. They both take turn playing piano on tunes. </p><p>ALL THE GROSSMAN STUFF on Top Link, page 1 and 2 is amazing. </p><p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/310013/7d8830686139c5a4856daecdfa994f34fd8ce3e6/original/img-0055.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_m justify_right border_" /></p><p>I listened to Mike and Randy so far, Randy was far more advanced at the time, as I had heard on his solo record debut. Randy was older and Mike was in a development phase. Grossman in 1973 on the first link, track 6, Pressure Point with a trio, is just over the top. It like going back 50 years for me, to a time that I didn’t get a chance to catch. It was like time travel for me! Liebman sounded great on Night & Day. It’s absolutely amazing to me. In 1985 I was trying to play like Liebman and Trane, on Bye Bye Blackbird, I won’t let you hear that, but amazing how now I see the connection. I went another way trying to learn to play on chord changes. So…..when I’m listening to Grossman right now, suddenly the young technical players of today get really diminished in my brain, because they have technique but not this soul and vibe of really playing the music from the heart at the time. Of course, IMHO.</p><p>This is fascinating to me. Loads best on computer, kinda works on iOS or Droid. </p><p><a class="no-pjax" href="https://tinyurl.com/en2zn8zf" target="_blank" data-link-type="url" contents="WEBLINK 1">WEBLINK 1</a>:</p><p><a class="no-pjax" href="https://tinyurl.com/3r9bd5d6" target="_blank" data-link-type="url" contents="WEBLINK 2">WEBLINK 2</a>:</p><p>I sat on the bed listening to various tracks. Even Frank foster going into super altissimo on his own tune Simone. Which was written about a woman he did the deed with. Frank sounded good for coming out of Sonny Stitt. But the heart of the matter for me was: What I heard on those sessions was a massive change in music that was CREATED by John Coltane. It was amazing. Like I was on a time machine and went back in time. One man. And his vision for a music and a band led to all this stuff. I don’t know why the white musicians latched onto it so fast but they did. I was told by an elder that many of the young players of the time were turned onto jazz by their fathers. Liebman dubbed it “The Great New York Tenor School.” Frank Foster really studied it and he played piano on some tunes and Joe Farrell played piano on some tunes. But Joe was not strong on some dates, but really himself on others. I've watched Joe play trio with Elvin Jones and it's incredible. I know from talking to people that Joe Farrell was a hot and cold player, sometimes on, sometimes off guy. His off days were much better than us normal humans! </p><p>The masses are right. Trane created a movement. A new music. A New way. And it is in those sessions Perla taped. Absolutely stunning. Grossman by far was the carrier of the flame. Liebman and he had some close exchanges. When Liebman said Grossman was ahead of all of us. Yep. When Mintzer said Grossman never realized his full potential because substance abuse. Yep. We would have to contact Perla why there is no Bob Berg. </p><p>Trane was like Bach. Creating a whole new way. That’s deep. </p><p>All those cats were chasing Coltrane. The whole rhythm section. </p><p><a class="no-pjax" href="https://www.jazzhistorydatabase.com/archives/gene-perla/index.php" target="_blank" data-link-type="url" contents="Gene Perla Collection">Gene Perla Collection</a></p>10:08Marshall McDonaldtag:marshallmcdonald.com,2005:Post/71382582023-01-15T10:02:00-05:002023-01-16T17:19:05-05:00Randy Brecker Interview <p> </p>
<div class="video-container" style="--video-width: 320px"><iframe class="justify_inline" data-video-type="youtube" data-video-id="6ZNeIzGSUcc" data-video-thumb-url="https://img.youtube.com/vi/6ZNeIzGSUcc/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/6ZNeIzGSUcc?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></div>
<p> </p>
<p>I've known Randy for many years, and he's not only a great musician, but also a beautiful person, that really exudes genuine care for all the folks he meets. We had a lot of fun and some real moments. Hope you enjoy.</p>
<p>Marshall</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/68918322022-02-08T10:56:33-05:002023-01-11T20:56:20-05:00Playing with Chico O'Farrill in the Documentary "Calle 54"<p><span class="font_small"><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/b8e99cf29f80bb340f5d0b396da9715f972bc60f/original/calle-54-832142.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_thin" alt="" /></span></p>
<p>Oh man, I have some memories! "Calle 54" is an incredible film by Fernando Trueba, and I am playing in the film behind some dark sunglasses with Maestro Chico O'Farrill. </p>
<p><strong><em>"CALLE 54....stands with The Buena Vista Social Club as a landmark musical tribute!" - Rolling Stone</em></strong><em>I </em><br> </p>
<p>I was blessed to play with The Chico O'Farrill Afro-Cuban Orchestra every Sunday night at Birdland for many years, and recorded two albums with the him, and we also appeared in The Thomas Crown Affair, where Jimmy Cozier and I got a close-up before the famous Ballroom Dance scene.</p>
<p>Playing with him and learning from him his amazing band was like going to Graduate School. </p>
<p>I remember making this film with Chico, we played the Afro-Cuban Suite that he had written for and recorded it with Charlie Parker. Besides Chico, appearing also are Paquito D'Rivera, Gato Barbieri, Tito Puentes, Jerry Gonzalez, Chucho Valdes, the legendary Patato and more. An amazing piece of history.</p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/68747862022-01-20T09:53:14-05:002022-01-22T09:05:12-05:00How David Sanborn Changed My Life<p>In 1977, I went to see one of my music heroes, David Sanborn at the Leona Theatre in Pittsburgh. It was a packed house, Dave was at his peak, with his regular band featuring his guitar comrade the late and great Hiram Bullock. Everyone was smoking weed in the theatre except me, I hadn't smoked anything at that point in my life! The were passing joints down the row, it was a party, and then they brought out a birthday cake, cause it was Dave's birthday! Man oh man, I remember hearing over the mic, Sanborn said, "oh man, there's a joint in the cake!" </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/628afc971fdbf332de3dcf40a79a8b607ec4ca78/original/leona-theater-homestead-pa.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" /> </p>
<p>David and Hiram were as one, in those days it was more jazz fusion than smooth jazz. I spoke to David about that concert, he remembered it. He said back then we could let loose and play, and he and Hiram had a magnetic effect when they played back and forth sax to guitar, speaking language of jazz as they stood stage front. I had walked to the front and stood with the crowd looking up with joy. It was then I decided, I want to be on stage doing that! When my high school buddy and I got into the car, I was driving and gleeful. Suddenly I turned to him and said, "man, I can't feel the wheel!" He started laughing hilariously and said you got a contact high! Wow, I was blasted. We were laughing. </p>
<p>He had just broken up with his girlfriend so we decided to drive to her house and just stand in front and look it at. HA!! It was just like a movie. </p>
<p>Dave remains to this day one of my greatest influences, and music that moves my heart and soul. David was a game changer for the music. I knew I had seen history and Dave Sanborn changed the sound of the alto saxophone and pop music forever. </p>
<p>He began playing saxophone because he had polio as a child, it had damaged on lung, lost nerve feeling on half of his body, and other conditions. His doctor suggested he play saxophone to improve his breathing. He excelled at it, and put the emotions of his experience into his horn. Touching peoples hearts, and moving lovers and souls. David Sanborn. One of my musical heroes, and a nice cat too.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/de4bbcbdc9cb7695d6be6abf8b8ae00157973120/original/marshall-mcdonald-david-sanborn-backstage-tokyo-blue-note.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_thin" alt="" /></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/68642252022-01-10T08:42:23-05:002022-01-10T21:50:27-05:00Makihiko Ayaki: Music from Japan<p>One of the first musicians that I met about 8 years ago when I started spending a lot of time in Japan was Makihiko Araki. He's a brilliantly talented musician, influenced by Prince and others, and was signed to the Warner Bros Label back in the day. His new, self produced release is fabulous. "Letters" He joined me for a "Quick Twelve" Questions. </p>
<p>Did you record the whole CD at home? </p>
<p>すべてのレコーディングを自宅でやったのか? </p>
<p>Yes! </p>
<p>Did you play all the instruments and program the drums? </p>
<p>すべての楽器とドラムのプログラミングを君がやったのか? </p>
<p>Yes! </p>
<p>Did you compose all the songs? </p>
<p>すべての曲を君が作ったのか? </p>
<p>Yes! </p>
<p>You were signed to Warner Bros Label, how many albums did you put out with them? </p>
<p>君はワーナー・ブラザースと契約していたがそこから何枚のアルバムを出した? </p>
<p>Four albums with the Warner Bros Label, and one album with Kitty Records as solo singer. </p>
<p>4枚のアルバムをワーナーから、そしてキティレコードから1枚のアルバムをソロ名義で出した。 </p>
<p>What is your home recording Setup? What software do you use? </p>
<p>ホーム・レコーディングのセットアップは何?ソフトは何を使ってる? </p>
<p>“Protools” version 2021.3.1 </p>
<p>“RME Baby Face pro” </p>
<p>“UAD2 satellite “ </p>
<p>“Studio One 5” </p>
<p>Which microphone do you prefer for vocal recording? </p>
<p>ボーカルの録音で選んだマイクはどのマイク? </p>
<p>“NEUMANN TLM102” </p>
<p>Did you study classical piano as a child? </p>
<p>子供の頃クラッシックピアノを学んでいたか? </p>
<p>No. I studied violin as a child. </p>
<p>いや、子供の頃はバイオリンを学んだよ。 </p>
<p>Do you have perfect pitch? </p>
<p>絶対音感はある? </p>
<p>Yes. </p>
<p>What has been your creative process for writing songs? </p>
<p>曲を作るためにどんなクリエイティブなプロセスがある? </p>
<p>I always pray for the glory of God. </p>
<p>All the gifts are by God. </p>
<p>I have some patterns for writing songs. One is to make melodies without using any instruments. For example when I walk. One is to make melodies with a guitar or piano. And one is to write lyrics first, and then make melodies to match them. After making the melodies, I ponder the code. The most worrisome thing is the tempo. There are few perfectly constant tempos in the songs I make. So I play guitar first, and then I program the drums. Therefore in most cases, there’s no crick . </p>
<p>いつも神に栄光を捧げることを祈っているよ。 </p>
<p>すべてのギフトは神によるものだからね。 </p>
<p>僕が曲を作るやり方としてはいくつかのパターンがある。一つは、楽器を何も使わずにメロディを作るやり方。例えば歩いている時とかね。一つはギターやピアノを弾きながらメロディを作るやり方。そしてもう一つはまず歌詞を作ってからそれに合わせてメロディを作るやり方。メロディが出来た後でコードを熟考するんだ。一番悩むのはテンポだね。僕が作る曲はテンポが一定のものはあまりないんだ。 だからまずギターを先に弾いて、それからドラムを打ち込むんだ。したがってほとんどの場合クリックがない。 </p>
<p>Have you traveled to America or Los Angeles to perform or live? </p>
<p>アメリカに旅行とか、演じるためにロスに行ったりとかしたことは? </p>
<p>No. </p>
<p>What difference do you find in American approach to music? </p>
<p>音楽のアプローチでアメリカ人と違う点はどこ? </p>
<p>I don’t know. </p>
<p>Clearly Prince is one of your music influences? Who else? And what did you learn from these artists? </p>
<p>明らかにプリンスは君が影響を受けている中の一人だよね?他には誰が?そしてそういうアーティストらからどんなことを学んだ? </p>
<p>Yes, Prince is one of my favorites. Other people are Paul McCartney , Stevie Wonder, The Carpenters, Elton John, Earth Wind and Fire … these are 70’s that I was influenced as Melody Makers. And more, Fusion Jazz musicians like Marcus Miller, Omar Hakim, Michael Brecker, David Sanborn, Pat Metheny, etc. I also thought U2 , Radio Head, and UK Rock Music has such nice sounds. </p>
<p>そうだねプリンスは大好きなアーティストの一人だよ。他にはポールマッカートニーやスティービーワンダー、カーペンターズ、エルトンジョン、アースウィンドアンドファイヤーとか…彼らはメロディメイカーとして影響を受けた70年代のアーティストだね。あとはマーカス・ミラー、オマー・ハキム、マイケル・ブレッカー、デビッド・サンボーン、パット・メセニーなどのフュージョンやジャズのミュージシャン達。多分スペル間違ってるけど(笑)。 </p>
<p>U2やRadioheadなどのUKロックはとても良いサウンドだと思う。 </p>
<p>END: The new CD gives listeners from other countries a chance to hear a contemporary rock from Japan. The songs are very enjoyable. Congratulations on your latest achievement. </p>
<p>最後に、新しいCDは、他の国のリスナーに日本からのモダンロックを聞く良い機会を提供することでしょう。その楽曲達はとても楽しめます。最新の成果おめでとう! </p>
<p>Thank you for your nice congratulations. </p>
<p>祝いの言葉をありがとう。</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/3b4eed78f72bfddb575d254a169a8145c6f58908/original/makihiko-araki.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/68523772021-12-27T00:36:06-05:002021-12-27T00:36:06-05:00My Father: Mentor to General Bagby, Chief Dental Officer U.S. Army<p>My father was a Professor of Oral Surgery at University of Pittsburgh Dental School.</p>
<p><a contents="Pitt Mag Article" data-link-label="" data-link-type="url" href="https://www.pittmag.pitt.edu/news/oral-history">Pitt Mag Article</a></p>
<p><span class="font_large"><strong>Oral History </strong></span></p>
<p><strong>The chief dental officer for the U.S. Army shares some of the wisdom he learned at Pitt. </strong></p>
<p>Written by Adam Reger </p>
<p>Some of the most formative lessons Shan Bagby learned at Pitt were delivered over a lunch table. </p>
<p>As a young man from New Jersey, freshly enrolled in the University’s School of Dental Medicine, Bagby was excited to kick off his career. But his new surroundings would take some getting used to. </p>
<p>He soon met someone who helped him feel at home. Alonzo E McDonald was an associate professor in the dental school's Department of Oral and Maxillofacial Surgery and had been one of the first Black oral surgeons to practice in Pittsburgh. </p>
<p>The two had many lunches together. “He really took me under his wing,” recalls Bagby. “We talked about focusing on what you have in common with people. He was a real father figure, and it made all the difference.” </p>
<p>It surely did, considering what Bagby (DEN ’93) has accomplished. </p>
<p>Today, he’s the chief dental officer for the U.S. Army, overseeing standards and policies for dental practice throughout the Army Dental Care System. Bagby is the first African American to hold the position. The decorated Army general—who has served for 31 years—manages an annual budget of $8 billion and more than 1,000 practitioners tending to the dental health of 400,000 troops based worldwide. Now residing in San Antonio, Texas, he also serves as the principal advisor to the Army Surgeon General on all matters relating to dentistry. </p>
<p>Bagby acknowledges several mentors throughout his life, but the inclusive wisdom he received at Pitt helps characterize his leadership style, which is hinged on finding the humanity in others. </p>
<p>“We’re meeting a human need,” he says. “That’s what dentistry is about.” </p>
<p><em>This article appears in the Fall 2020 edition of Pitt Magazine.</em></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/68382572021-12-12T09:32:09-05:002023-01-11T20:56:20-05:00Basie Band Swagger: History from the Source - Frank Wess<p>The New Testament Basie Band had "swagger'. They had a walk, and the talk, they had the groove of life. They knew they could play, and were at the top of the heap. And the man who guided that and bred it into a family was Mr. William Basie himself.</p>
<p>They had "swagger". That little extra bounce in their step. They were confident. You've seen it, the way Freddie Hubbard walks up to the mic, the way he holds his horn, he got SWAGGER. The Basie guys were cocky even, and ready to prove it. Frank Wess told me they played about 300 dates a year, and that the band I was in would never be able to come close to playing the way they did. I remember calling him on the phone, and asking about a particular flute solo he played and the year and the band which led to the whole conversation about the early 60s band.</p>
<p>It all came from the organic experience of doing it all the time, night after night, riding the bus together, gambling together, drinking, finding girls together, getting paid, being serious pros. High level, and motivated practice but most importantly for the performance, and he said after playing together every day like that they all knew each other, the sounds, the notes and their lives. This period of JAZZ MUSIC WILL NEVER HAPPEN AGAIN. When you watch Lockjaw you see SWAGGER and the look that says, 'I know I'm bad.'</p>
<p>But not arrogance, but AUTHORITY. They earned this and it took a lot of work. The Basie Band didn't play the music like it was on the paper, the interpreted it, and made it their own. They owned that music. During these years, Sonny Stitt, Johnny Griffin, Monk, Bud Powell, Sonny Rollins or Miles or Trane might show up at the gig, so there was no need for arrogance. </p>
<p>Bill Hughes told me they were stars! That is the other difference CONFIDENCE. And Mr. Basie ran a tight ship, stage presence, business, no drinking on stage, no talking etc. Classic African -American disciplined Jazz. </p>
<p>The Count Basie Orchestra showed it's swagger every night, it was a lifestyle, it was life on the bus, Bill told me that they knew each other so well musically and personally, we played like one. And he said "when we played a note, we each put a little something "extra" on it. That was our secret. The music was just a guide for what we were going to do with it."</p>
<p>The Count Basie Orchestra, a monumental institution of Jazz.</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/68380332021-12-11T23:28:24-05:002021-12-11T23:48:27-05:00Music and The Human Brain<p>We lost Barry Harris just recently, he lived a rich and full life of dignity, a true Jazz Warrior. I always noticed that Barry sung things to his students. I just had a long talk with Dr. Nelson Harrison and we were talking about something that I had noticed a long time ago. I realized that it seemed a different part of the brain was used when I read music than when I was just listening to music, and learned it by my ear, by aural methods. I've known Nelson for many years, and we had a wonderful Zoom, later I will post segments on my Youtube, and he broke it down for me. The Left Brain is digital, it classifies items, performs functions, runs things, but it can't hear music. It is the Brain that we use when we read music. The Right Brain is the part that HEARS music and actually remembers all the music we have ever heard, like a super computer of music. The Right Brain, is really the creative component which does all the real thinking, and processes complex concepts and ideas. The Creator if you will. </p>
<p>That explains my personal feeling about reading music and learning music by ear. I found when I learned a Charlie Parker solo by ear, never reading it from the Omnibook, only picking notes off and playing with Charlie, I really KNEW it, it became a part of my playing. I started telling musicians who asked me that reading solos from a Transcription book will only make you a better music reader, but you will learn nothing about jazz and improvisation, or how to phrase, or how to play in a sax section.</p>
<p>I began Classical Clarinet studies at a young age, but a door broke down for me when I was in high school. I was playing lead alto in my high school stage band, and I had a jazz solo to play, but I didn't know anything about how to solo on those funny chords on the paper! I had been listening to Jazz, and learned a couple of chords but that was it. So I decided to record the band playing my solo tune and I went home and sung along with the cassette tape things that I heard in my head! In another words, music I thought I could play on the solo. I would listen, then sing, then stop the tape. I would figure out what I sung on my alto, and then wrote it down! It took some hours but I eventually wrote out a whole solo from my singing. During our performance at a Big Band Contest at Duquesne College, (which my father attended), I ended up winning the award for Best Soloist! It wasn't until I started studying with some jazz players, that I was told, my method was exactly right, we must learn to sing and hear. Once that begins, a teacher can begin to give materials to the student to advance. </p>
<p>Inside of our are endless melodies, theme songs, TV commercials, pop songs, memories all triggered by music. For further exploration of this miraculous discovery I suggest watching the movie "Alive Inside". Social worker Dan Cohen, through his nonprofit organization Music and Memory, discovers that Alzheimers patients who haven't spoken for years and feel lost, when given the music THAT THEY HAD LISTENED TO AT ANY TIME IN THEIR LIFE, that suddenly they woke up, suddenly they spoke, they smiled, they even danced. I recommend this movie to everyone, musicians and non-musicians that shows how important music is to the human experience.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="IaB5Egej0TQ" data-video-thumb-url="https://img.youtube.com/vi/IaB5Egej0TQ/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/IaB5Egej0TQ?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>"Alive Inside"</p>
<p>Big bands were originally complete with master improvisors, and much of big band dance music was made of “riffs” or jazz playing. A lot of the first Basie music was based on riffs, a riff is a jazz phrase that we just play, not using music.</p>
<p>I’ve studied jazz harmony and saxophone with George Coleman (Miles Davis alumnus), Dr. Nathan Davis, Mark Kirk (Phil Woods), Dave Tofani, Lee Konitz, Frank Foster, Bob Mintzer, and Joe Lovano. Clarinet Studies with Thomas Thompson, Principal of The Pittsburgh Symphony, William Balawajder, Professor Carnegie-Mellon University, Nestor Koval, Professor Duquesne University (First American to Graduate from The Paris Conservatoire of Music). </p>
<p>But the greatest lessons that I have learned is to use your ears and play.</p>
<p>Music is a language, we have to use the written notes to improve our craft, but I make note that Wolfgang Mozart could sit at the piano and "Spontaneously Compose" for hours. </p>
<p>Marshall</p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/68262362021-12-01T01:14:57-05:002021-12-01T01:45:29-05:00"The Big Birdie" Charlie Parker: The Source<p>I studied Bird by listening to his playing, and reading books about him. Charlie Parker is the most important musician of the last 80 years, he changed music across the musical spectrum. Rhythm & Blues came from jazz, and the saxophone players and the guitar players who played it were born from Jazz. Jazz had a baby and they called it Rock & Roll. Funk, Smooth Jazz, Pop, are all children of Jazz (American Classical Music), and you can hear Charlie Parker in ALL OF IT.</p>
<p>Charlie is the Bach of our time. I've been blessed to travel and tour the world, and I can find a bit of Bird in music everywhere. I was listening to a recording on YouTube with Miles, Sonny Rollins, & Jackie McClean, and someone posted, they are all friends of Charlie Parker. I replied, they are not Charlie's friends but his disciples. Music Students who graduated from the College of Charles Parker.</p>
<p>He hired Miles before he was developed because Bird could already hear his greatness, Miles went to the School Of Charlie Parker every night. Sonny Rollins is born of Bird, when he heard Charlie record on tenor, it pointed a new direction for Sonny to follow. In addition, the language, phrasing and articulation that New uses was coming directly out of Bird, if one studies the sides that Charlie recorded on tenor with Miles, we hear a direct lineage. </p>
<p>Jackie McClean directly hung out with Charlie, learned the music from him, and as most did then, idolized him. As Bill Crow said in my interview with him, 'we knew there was Charlie Parker.......and then there was everybody else'. Musically he means Bird stood towering over us all. Now we know Jackie got hooked to heroin because of Charlie, and many others did also, Sonny, Miles, too many to name. </p>
<p>There's a dark side, of being a genius, of being the first, and in America worst yet, doing it while being a Black Man in America. So there was a lot of self-medicating going on. Remember on the one video we have of Charlies playing with Dizzy, and the MC says, "do you Boys have anything else to say?" (Now please understand the history, white folks called grown African-American Men, Negroes then, Boy to demean them, boy shine my shoes, boy open that door, boy step away from the table. BOY meant you were not a Man to be respected. </p>
<p>On that video you can see Mr Parker's head snap suddenly and turn, when he heard the "signal", and his terse reply was "Well Earl, we think music speaks louder than words, and we'd like to voice our opinion that way if you don't mind..." Charlie was already upset when the announcer said Charlie Parker and "The Famous Dizzy Gillespie of Jazz". </p>
<p>As they started Hot House, Bird never closes his eyes, and to begin his solo, starts with two of his classic phrases, yet the double time phrase had a certain ferocious taste to it. He then plays a perfectly constructed solo, dark tone, eye wide open. On the last 8 bars, he again whips off his signature double time phrase, and then ends with a three note phrase which my brother always heard the words "CALLED ME BOY! CALLED ME BOY!", and finishes with a Birdism, allowing Dizzy to open his solo with the 'called me boy' lick. </p>
<p>Some folks on Youtube wrote that Miles is not a virtuoso. They are absolutely idiots. Not only had he mastered this music, he found his own sound and could play with anyone. Geri Allen was getting her Doctorate while I was in Undergrad at University of Pittsburgh, I never forget her inviting to her apartment to share food. She was a strict vegetarian at the time. I was wondering about Miles Davis and technique. She quietly pointed me to some Mile's recordings in the 50s where he was playing bebop on the gigs at very rapid tempos. She noted that Miles had studied under Bird, and instead of becoming Bird, he forged his own sound, and clearly mastered the ability to play rapidly over chord changes. It was a lesson, I still remember to this day. </p>
<p>Miles Davis and this group of American musicians completely changed the world. But the toll of Blackness did not go away for Miles Davis either, as he stood in front of the New York Jazz Club, and a policed told him to move on. Miles replied that's my name up on the Marquee. The cop quickly took out his baton and bashed Miles in the head, spreading blood over his face and arresting him.</p>
<p>So what does the racism have to do with Miles Davis? And Charlie Parker, or Bud Powell, or Dizzy Gillespie. Well. Everything, it has everything to do with who they were, what PTSD they suffered from, why them played and chose the notes they did, and why sometimes they escaped the pain with drugs and alcohol. The music was born in and out of a racist culture. </p>
<p>These realizations helped me to understand the music on another level. Miles went on to change music several times, and he was a child of Charlie Parker. John Coltrane traces his roots to Charlie Parker, and since Michael Brecker said to me, 'why are you listening to me, you should listen to Trane'...there is a direct lineage from Bird to Trane to Michael Brecker. </p>
<p>So after reading this, I hope you listen to the music of Charlie Parker with a little extra thought. I find the recordings with Strings to be some of the most beautiful music ever played. Charlie was extremely proud of those, as he thought he finally had a platform he deserved to express his musical beauty. Carl Arter, pianist and educator of Pittsburgh told me, don't believe this idea that Bird didn't practice. He said "Whenever Bird came to Pittsburgh, he had a lady's house he would, and I personally know that all during the day Charlie spent his time practicing. Yep, practice makes perfect. </p>
<p>The beauty of his playing and the 16 hour practice days it took to reach that level are extraordinary. The recording equipment of the day pales to the technology that was to soon follow, so we never really get to hear what Bird actually sounded like. Those musicians whom I have met, who played with Bird or heard him live, said those old mics and records don't capture an inkling of what it was like to hear the genius play right in front of you. Bill Crow said his so was full, dark, and carried to the back wall, yet it was not loud. </p>
<p>Charlie only listened to Classical music at home, and he and Dizzy used to study classical scores, and Charlie Mastered studies like The Klose Studies. Bill Crow tells a great story of hanging out with Bird during the day, and just wanted to listen to the Classical Music. Bill said, Bird spent the time reading a Classical Study book he found there (just looking through the pages) and later that night when Mr. Crow went to Charlie's evening show at the Savoy, he was stunned to notice that Bird kept playing phrases he had simply read by sight during the day in all of his solos. </p>
<p>Charlie Parker stands alone. He knew and understood what he had mastered with the music, and I am grateful for the gifts and beauty he left us. </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="k17bgucX9Uk" data-video-thumb-url="https://img.youtube.com/vi/k17bgucX9Uk/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/k17bgucX9Uk?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p>Bird and Dizzy 1952: Receiving the Downbeat Awards</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/68125012021-11-17T09:31:12-05:002023-03-03T10:25:24-05:00How Do Ya Practice Jazz? Or Music?<p>I was doing a Zoom lesson with a student about playing over There Will Never Be Another You. I was teaching the idea of playing a simple phrase, then running the Licks he had been shedding. Simple. Then Practice. Simple. Then Practice the Lick. </p><p>Basically in high school I didn’t have a jazz teacher so I would sing something I thought I should play. Then I would write it down. A college sax student came to the high school, liked me, said you need something to play, you just can’t stand up. He wrote out a triplet minor chord outline for me for my school solo. I visited his college and he said you play alto. Listen to this record. It was David Sanborn. That’s how I ended up at the Leona Theatre in High School with my High School buddy. David’s playing really touched my heart and moved me, his playing reminded me of someone singing. The Jazz method has brought us players who play their instruments on unheard of levels. But—-where is the message that is touching the heart? Why is Jazz 1% of the Market now? But I digress.</p><p>I held up a recording of Lester Young playing on Another You to the Zoom microphone during the lesson. I wanted to demonstrate how we should start with Louis Armstrong Lester. We could at first just learn how to play around the melody. When I was 12, I heard Louis Armstrong singing Hello Dolly on an 8 Track Tape (yeah I’m old) so I tried doing improv like the clarinet player I heard (Barney Bigard) on that record. I didn’t understand it all but when I got in the state bands on clarinet the other kids thought I could play jazz! (:</p><p>I used to go to bed listening to Massey Hall on my white plastic record player in Fox Chapel, PA every night. I put it on and listened. Fell asleep. Later I found I could sing some of it. At Pitt that helped me. Frank Mallah, an advanced trombone player in Pittsburgh, told me that I needed to learn 25 Big Birdie (Charlie Parker) solos by ear. Transcribing is what he meant. </p><p>Between studying the Big Birdie, Bebop Scales, Phil Woods scale exercises from Mark Kirk, transcribing, singing and my lessons with George Coleman I learned to hear and connect the changes. But it took much longer than it should have. A good “guide “ is always needed. I remember being at Univ of Pitt downstairs with my friend “D” and I was saying how simple it was to sing and hear the b9 interval, specifically the 3rd to the b9. At the time my buddy couldn’t hear it. I said it’s the Big Birdie lick on bar 8 of the blues! I started singing it! I could hear it. </p><p>Yet I didn’t have a teacher to really show me the steps on analyzing chords/harmony. Carl Arter was the best teacher around, but I only took one lesson. Our goal is to hear melodic development, being able to hear what it is you want to play, for me a lot of that encompassed singing. My bro suggested I use tv shows and songs and just play them by ear. Check out the intervals. As I did it I found I could hear the melody in my head and then almost play the whole thing. We heard commercials and TV show themes so much. They are embedded. Great practice and interval studies. </p><p>I believe a jazz solo must have some melody in it that the listener can grab onto. We are playing for people not musicians. We need some melodic content. We need to remember people are listening. When we play we should react to what other band members are playing. Interact. </p><p>When you go to Music School, one learns The BeBop Method first, because the music that followed, Eric Dolphy (I did my best to try to pick some of licks, but geez), Arthur Blythe, Jackie McClean, Coltrane, Ornette Coleman, Michael Brecker, Bob Mintzer, Steve Grossman, Donald Harrison, Greg Osby, Steve Coleman, I could go on forever.....we all started with Charlie Parker. (Bop) You may not even want to play that kind of music but like classical music it teaches you the aspects of the music you will need. When you read about these cats practice habits Bebop is the BACH of Jazz Improvisation, and Charlie Parker is BACH. Even if you start with Trane, it will take you back to Bird. I also immersed myself into the tenor, writing out Giant Steps myself, Michael Brecker solos, 30 choruses of a Steve Grossman solo, I did Grover Washington, Kirk Whalum, Clarence Clemons, Gerald Albright solos, (Forget Me Nots) everyone should learn that solo etc etc. I know if I had started younger, (and hadn’t spent so much time in my early 20s burning away my time) I would have grown musically much more than I have. </p><p>I also needed to make money, and I enjoyed playing wedding bands, and doing cover songs, though I enjoyed the $400-600 a gig it paid more. It seems learning different music is helpful. I hear cats say, I don’t get Bruce. Or Clarence Clemons. They should try to write lyrics and deliver a solo that gets into history. It’s not what you play, it’s how you play it. It’s all in the delivery. I’m glad that I enjoy diversity of listening. My favorite music is that which brings an emotional response inside. Count “William” Basie understood that 100%. </p><p>What's my point? Jazz and music is best learned young but we can still break down walls as we get older. After I got to High School, I always ended up on Lead Alto, (those classical clarinet lessons paid off) although I knew nothing about Jazz. My father NEVER played jazz in the house. But I was on Lead because I had a good sound. I picked up alto myself, Dad bought me one in 9th grade so I could play stage band. It seemed easy to learn after clarinet. I was told, you play in tune, read amazingly well, and have a good tone. Play lead alto. At Lafayette College, same thing. I couldn't improvise very much at all. Univ of Pitt, Nathan Davis, oh you got great sound, Lead Alto. Frank Foster, Lead Alto. George Gee, Lead Alto. on and on. People keep asking me what does it take to play Lead Alto? Lead alto players study playing saxophone, sax studies and jazz studies. </p><p>I was a late starter on Jazz Studies, I wanted to go to Berklee in 1977, I would have been there when the YOUNG LIONS were coming up....but I went for Bio-Chem at Lafayette College, and then later I spent my time....doing "other" things. Even with the other things, I was obsessed with practicing. Frank Mallah, Andy Fite, Ned Gould, Dave Budway, Dwayne Dolphin, Geri Allen, Tony Cambell, Don Aliquo all seemed to be doing a lot of practicing and they sounded great! </p><p>The Brain is easily programmed for the material when you’re young. It seems to get harder and harder as you age. There are exceptions, people point to Coltrane, we can also point to the complete difference in approach from Rollins to Coltrane also. But exceptions are not the rule. Every cat I have met since I started this bizarro journey, has told me of intense hours of practice especially young. There are a few who come along and do 4 hours a day and develop in 4 years. Mysteries of the Brain. Mortals though, most of us it doesn’t work that way. </p><p>Yet, my biggest point of all this is: we should start out practice in our mind. We want to hear the music in our mind. Our goal is connect both brains, logic and artistic. Ultimately we hope to play what we hear, what we might sing. Of course complex phrases we might not sing, yet in our mind we can picture the complexity. Above all, we should think of our audience. It's best to start to improvise by taking a simple melody, Happy Birthday and try to make "variations" on it. We should start with the history, the early jazz, and see how people improvised around the melody. That teaches us it's not magic, it is something we can do. For Classical people, with you ear, try to sing various variations of a exercise. Sing or write out your own Classical Etudes. Singing is essential to the process. Also listen to the words of songs. </p><p>Michael Brecker shared his practice methods and the hours he did with me. Kenny Hing told me of hours of practice. Frank Foster. Harvie S No Ey just told me he did 8 hours a day on bass. I don't know any short cuts to reaching the point where you can EXECUTE what you hear and wish to play. I once asked Lionel Hampton, "What is it that you like in a player the most?" Without hesitation he responded "Execution!"</p><p>Wake up. Get out of bed. Drag a comb across your head. Find your way downstairs and have a cup. Have a smoke and go into a dream. </p><p>Boomer out. </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/67325712021-08-31T23:48:33-04:002023-05-06T20:52:46-04:00Lead Alto playing-Grammy Nominated Recording-The Basie Big Band<p>So. We go into the studio to record some tracks. This one is a Grammy Nominated track for Best Arrangement, Instruments and Vocals, Clint Holmes vocals featuring Dee Dee Bridgewater. Arrangement by Gordon Goodwin. I need to add some flavor to it, and we need to make it our own. Playing lead alto, also means playing the saxophone well. In my Zoom Lessons, I use examples and exercises to make YOU a fine Lead Alto player. Learn the styles. This track is dancing. Contact me for Zoom Lessons, on Lead Alto, Section Playing, Improvisation. Reasonable Rates.</p><p>I Loves You Porgy/There's a Boat Leaving for New York featuring Dee Dee Bridgewater</p><p> </p><div class="video-container size_xl justify_center" style=""><iframe data-video-type="youtube" data-video-id="-VLqQwMHEP4" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/-VLqQwMHEP4?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/66251612021-05-08T11:22:02-04:002021-09-09T13:33:18-04:00Review of the Buffet Senzo Alto Saxophone<p>I had the privilege of going to the Buffet Showroom New York City, in 2015 and play testing the new alto, and taking it home for two weeks. I really enjoyed this alto. It has a dark sound, reminds me of the horns Charlie Parker used to play, good intonation and a beautiful pink bronze color. </p>
<p>I was a little taken aback by the cutout in the neck for the unique octave key mechanism, the horn has a special shorter design like an old style Buffet. I got around well on the horn, and I honestly wished that I had asked to be one of the first endorsers of this horn now. If you check out this video, you can hear how it played.</p>
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<p>Photos:</p>
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<p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/ae2023f347dba02867311294af6eac71403acd90/original/buffet-senzo-bell.jpg/!!/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" /></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/66100472021-04-21T10:43:13-04:002021-09-11T11:44:01-04:00Club Basie Japan<p>Basie! There's a Jazz Club in Japan called Club Basie, Count Basie himself was there every year, and I visited the club while on tour with Basie there almost every year. A jazz promoter, who got his nickname from The Count himself, "Swifty", is being honored in this new film showing in Japan.</p>
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<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="a_rJ2Bm4yF0" data-video-thumb-url="https://img.youtube.com/vi/a_rJ2Bm4yF0/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/a_rJ2Bm4yF0?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/65355892021-01-31T10:45:30-05:002021-09-02T16:28:12-04:00Cannonball- Giants Who Visit<p>So much debate about who is best in jazz. It’s not a sport. But there are some Gifted ones who bring a message. They usually don’t stay long. Armed with technique and substance, soul and swing, they say, “I can’t stay long, but I’m gonna leave this for y’all right here.” Cannonball was one of those. </p>
<p>Oscar Pettiford was upset. Jerome Richardson was late. Somebody said that guy has a sax. Cannon didn’t want to lend his horn he said. I want to play. Oscar was pissed. So Pettiford stomped off “I’ll Remember April” fast as hell to show this country kid. The rest is history. Cannonball sits in for the first time in Big Apple: </p>
<p> “But instead of falling on his face, the big man (Cannonball) with the big sound unleashed a torrent of notes that stunned those in attendance -- zipping through the melody like a cheetah and flying over the chord changes like a hurdle jumper. </p>
<p>“This young man got up there and sailed right through it,” says Hentoff, the critic who saw it with his own eyes. </p>
<p>After a few other songs, the saxophonist brought his brother onstage as well. By then, people were racing to use the phone, says Cooper, the Adderleys’ friend. </p>
<p>“Everybody was calling somebody else to tell them what was happening,” Cooper says. </p>
<p>Hentoff knew exactly what was happening. He had never seen it before, and he hasn’t seen it since. </p>
<p>“It was very clear that night -- we didn’t even know his name -- that this guy was making it,” he says. </p>
<p>Saxophonist Phil Woods was there and knew what it was, too: Bad news for him and fellow sax player Jackie McLean. </p>
<p>“Jackie and I were in the back listening to this son of a ----- play saxophone like no human being had played it before,” Woods told Judy Smith, a Chicago writer working on a biography of the Adderleys.</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/65043872020-12-21T00:53:21-05:002021-09-09T12:00:11-04:00Count Basie A Very Swingin' Christmas Review by Bill Brownlee<p>A Very Swingin’ Basie Christmas! (Concord Records) </p>
<p>Founded in Kansas City in 1935, the Count Basie Orchestra celebrates its 80th anniversary with the release of its first Christmas album. With delightful assists from guests including the Christmas mainstay Johnny Mathis, the ensemble upholds its reputation as the greatest blues-soaked big band in jazz on the ebullient if stodgy A Very Swingin’ Basie Christmas! </p>
<p>The Count Basie Orchestra’s brash sound remains synonymous with Kansas City 31 years after William “Count” Basie’s death. Currently under the direction of trumpeter Scotty Barnhart, the band’s historical importance and lofty reputation allow it to maintain a large payroll and meet the artistic challenge of playing a form of mainstream jazz that hasn’t been at the forefront of popular culture for decades. </p>
<p>The band supported Tony Bennett on his 2008 Grammy-nominated A Swingin’ Christmas, and the title of this new effort is an overt reference to the organization’s successful partnership with Bennett. But the crooner’s absence isn’t missed. </p>
<p>Instead, the core 17-piece band delivers a powerful visceral punch. Even in this era of electronic dance music, the organic blast of a hefty horn section can still induce adrenaline thrills. </p>
<p>A rich sound field reflects the expansive capacity of contemporary recording technology, though the arrangements sound a little musty. Longtime Basie collaborator Sammy Nestico, 91, arranged “Jingle Bells” and “Good ‘Swing’ Wenceslas.” He’s is one of the most important figures in the evolution of the big band sound, but his distinctive work is redolent of the Eisenhower Era. </p>
<p>The anachronistic tone doesn’t spoil A Very Swingin’ Basie Christmas! partly because holiday albums aren’t appropriate forums for innovation. (Besides, the ensemble’s previous attempts to seem contemporary backfired; the band’s low point was two albums of Beatles covers released in the 1960s.) Reinforcing the quaint tone here is Mathis, whose cheerful renditions of seasonal favorites have been holiday staples for generations. “It’s the Holiday Season” is irresistibly corny, and Mathis delivers it with a smile in his smooth voice. </p>
<p>Lustrous R&B vocalist Ledesi sounds as if she was asked to sing in Mathis’ style on “The Christmas Song,” where unflatteringly precise enunciation replaces the casual accents that make Ledesi’s hits like “Pieces of Me” distinctive. In the liner notes, Barnhardt says he hopes the presence of Ledesi, 43, will introduce “her young fan base” to the Basie sound. </p>
<p>While the band hopes for new "young" fans in their forties, nothing on this genteel record is intended to challenge the sensibilities of those fans who once danced at the band’s concerts. </p>
<p>Pianist Ellis Marsalis, the patriarch of America’s first family of jazz, appears on “Let It Snow” and “I’ll Be Home For Christmas.” His contributions will delight listeners who fondly recall Basie’s percussive solos. And the tactful playing of guitarist Will Matthews, the only member of the ensemble who makes frequent appearances as a bandleader in Kansas City nightclubs, underscores Marsalis’ showcases. </p>
<p>The album’s best solo comes on a heartbreakingly wistful “Silent Night,” where saxophonist Marshall McDonald’s tender statement evokes Kansas City jazz legends Ben Webster and Lester Young. His playing is so potent the track would be welcome on a steamy summer morning. </p>
<p>Memorable moments like McDonald’s compensate for the album’s deficiencies. That unnecessary exclamation point in the album’s title and the characterization of the 11th track on the 44-minute album as an encore feel like signs of desperation, but the band shouldn’t feel compelled to resort to cheap gimmicks. In spite of its faults, “A Very Swingin’ Basie Christmas!” is an entirely worthy addition to the ensemble’s illustrious discography. </p>
<p>Bill Brownlee's writing appears weekly in The Kansas City Star and Ink magazine. He blogs about Kansas City’s jazz scene at Plastic Sax.</p>
<p><a contents="Bill Brownlee Count Basie Swingin' Christmas Review" data-link-label="" data-link-type="url" href="https://www.kcur.org/arts-life/2015-12-01/music-review-the-count-basie-orchestras-a-very-swingin-basie-christmas" target="_blank">Bill Brownlee Count Basie Swingin' Christmas Review</a></p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/64298372020-09-10T06:31:20-04:002021-09-09T00:55:29-04:00Tim Price blogging for D'Addario Woodwinds<p>This weeks blog features a player whom I respect highly- Marshall McDonald. This is a player who I would call a master artist who's woodwind and saxophone playing, history speak for themselves. Face it, the street cred Marshall has is inspiring. Marshall began his tenure with The Count Basie Orchestra under saxophonist Danny Turner in 1994 and now holds down the Lead Alto chair famously held by the great Marshal Royal. Marshall has performed concerts and jazz festivals world wide with the orchestra directed by Frank Foster, Grover Mitchell, and Bill Hughes and Dennis Mackrel.......</p>
<p>click here to continue.....</p>
<p><a contents="Gimme 5 Tim Price and Marshall McDonald!" data-link-label="" data-link-type="url" href="http://ricoreeds.blogspot.com/2016/05/tim-price-bloggin-for-daddario_30.html" target="_blank">Gimme 5! Tim Price and Marshall McDonald Bloggin' for D'Addario Woodwinds</a></p>
<p><a contents="Gimme 5 Tim Price and Marshall McDonald!" data-link-label="" data-link-type="url" href="http://ricoreeds.blogspot.com/2016/05/tim-price-bloggin-for-daddario_30.html" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/44984c407b8883dce88f49447626fe6cb769d643/original/marshallmcd.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" /></a></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/64298342020-09-10T06:29:06-04:002021-08-22T05:29:12-04:00Pure Clarinet Sound JAZZBLUESNEWS<p>31.08. – Happy Birthday !!! Whether you heard him playing Lead alto during his 18 year tenure with The Count Basie Orchestra, or playing tenor saxophone with Paquito D’Rivera or baritone saxophone with Abdullah Ibrahim or clarinet solos with The Duke Ellington Orchestra, Marshall keeps the swing and dance that he learned in his hometown of Pittsburgh, at the heartbeat of his playing. </p>
<p>A seasoned reedman, having played over 30 years in the New York City area, he is known for his ability to play all of the saxophones and woodwinds, with a unique approach to each one.........</p>
<p>click the link below to continue....</p>
<p><a contents="Marshall McDonald Has That Pure Clarinet Sound!" data-link-label="" data-link-type="url" href="http://jazzbluesnews.com/2018/08/31/marshall-mcdonald-has-that-pure-clarinet-sound-he-has-that-sound-of-the-symphony-players-video/" target="_blank">Marshall McDonald Has That Pure Clarinet Sound!</a></p>
<p>Thank you folks at <a contents="www.JazzBluesNews.com" data-link-label="" data-link-type="url" href="http://www.jazzbluesnews.com" target="_blank">www.JazzBluesNews.com</a></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/64298312020-09-10T06:02:29-04:002023-02-06T21:14:47-05:00Interview in Kobe, Japan <p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/6ba8f9ed1ff6bff1690bd619fb7a003b2ae8b6db/original/kobe-jazz-interview-jpg.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpeg" class="size_m justify_left border_none" alt="" /></p>
<p><a contents="Kobe Jazz People" data-link-label="" data-link-type="url" href="https://www.kobejazz.jp/jazz_people/vol66.html" target="_blank">Kobe Jazz People</a></p>
<p>神戸での素晴しいインタビュー。日本のファンが楽しんでくれます。</p>
<p>コピーだけでなく独創性を。 <br>もっとジャズを楽しもう。 </p>
<p>今回ご紹介するのはMarshall Mcdonald(マーシャル・マクドナルド)さん。あの世界的に有名なビッグバンド「カウントベイシー楽団」のリードアルトサックス奏者です。昨年の山野ビッグ・バンド・ジャズ・コンテストに出展したKOBEjazzブースに遊びに来てくださったことをきっかけに交流が始まり、このインタビューが実現しました。学生や若い人に伝えたいこと、日本のことなど、様々なことを伺いました。</p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/62791252020-08-11T08:48:36-04:002021-08-19T11:51:57-04:00Youtube Video, solo sax, Amazing Grace: Keep hope during COVID<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="cxI4DNkzPwM" data-video-thumb-url="https://img.youtube.com/vi/cxI4DNkzPwM/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/cxI4DNkzPwM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe><br> </p>
<p>I've been blessed to meet, perform with, hang with some of the greatest musicians in the world. When I was young at University of Pittsburgh in the early 80's I just dreamed of maybe doing a few nice gigs. Well, as March and April this year started kicking in, and we started to lose so many great musicians, some COVID related, others not, it caused me great pause. I found this solo sax track that I recorded in 2008, and put these photos in it as a tribute to some of the heroes of mine that I have met. </p>
<p>I have on the thumbnail, the legendary Benny Golson. I first met Benny years ago while playing with Lionel Hampton, and over the years, he has been one of the kindest mentors. Along with cats like Bob Mintzer, Randy Brecker, Michael Brecker, Frank Foster, Charli Persip, all the cats, share their knowledge, encouragement and life with us. This video is dedicated to them, those living and those not with us anymore. I recorded Amazing Grace, because it was one my grandmother and mother's favorite hymnals. </p>
<p> (recorded 2008 Never released)... All of the people in these photos are my heroes. Music masters and all were so kind and generous. True artists. Each one had some childhood music memory for me, Randy Brecker, Benny Golson, Maceo, David Sanborn! Nicest cat and I tried once to sound just like him. Paquito! I heard him with Irakere and clarinet doing the Mozart concerto! Kirk Whalum, his playing brings tears. The ones who are gone Freddie Hubbard, Phil Woods, Kenny Burrell, Bucky Pizzarelli, Snooky Young, Billy Taylor, Frank Foster, Ed Shaughnessy. On and on. They brought us joy. Many didn’t have a lot of financial reward. They shared their hearts with us, every person I met, I could think of a song they played that touched my heart. That’s why I was thrilled. Musicians give their soul to us it takes a lot of work and spiritual energy to deliver. Through these times the music will reminds us of our real beauty.</p>
<p>During this time of COVID-19, let's send love and hope to our medical workers, leaders, family and friends. </p>
<p>We will get through this. Remembering those we have lost already.</p>
<p>God Bless </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/63919432020-07-24T10:44:35-04:002021-08-09T14:39:04-04:00Inside the Jazz Mind<p>Appreciate this time with musical-u.com <a contents="Inside the Jazz Mind with Marshall McDonald" data-link-label="" data-link-type="url" href="https://www.musical-u.com/learn/inside-jazz-mind-marshall-mcdonald-count-basie-orchestra/">Inside the Jazz Mind with Marshall McDonald</a></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/b0516f48aedcab0f2f21d94821fabc9658a32b21/original/tmp094-inside-the-jazz-mind-with-marshall-mcdonald-1-1024x536.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/62732892020-04-06T11:06:11-04:002021-07-09T08:15:35-04:00Predatory Capitalism <p>A friend of mine posted a question about the pay level of sports figures and why? I wrote this answer and I’m sharing it. Most of y’all might not dig it. But..... </p>
<p>Because predatory capitalism doesn’t care about the needs of the people, the whole concept is built on “capitalizing on each other”, that is whatever the market will pay is fair, not whether it supports our higher good. Thus sports, religion and TV are used to sedate and brainwash the masses and it’s been quite successful turning us from citizens to “consumers” to quote George Bush. Since the masses will pay large amounts of money to follow sports, buy the products advertised on sports etc the market decided how many billions they could make “capitalizing” on both the health of the players and the psyche of the electorate. At one point after the players realized how much money the “owners” were making (a slave concept obviously) they demanded their share. And there was so much money being made that even after paying the players exorbitant amounts of pay there was still billions left for owners and shareholders. That’s a lot of dough. We ourselves elevated wealth and rich people to a high status when we changed our morals and tv shows starting around 1980 to represent only wealthy people not ordinary workers like Jackie Gleason, Andy Griffith, Maude, Kojak etc. we became the “I GOT MINE YOU GET YOURS COUNTRY” and the more money you have no matter how we got it, makes us a higher status. Who said, “when you famous they let you do that.....”? 😂 So WE THE PEOPLE are to blame for allowing the culture and corporations to put little financial value on the one who spends all day with our children, that is teachers for example, to the point where teachers have to buy their own supplies and take summer jobs to make ends meet—- we have reached the point where all great empires collapse. And all of them have in the past.</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/62346742020-03-02T14:40:36-05:002020-03-02T14:47:27-05:00Jazz vs Classical<p><strong>AMERICAN CLASSICAL MUSIC (JAZZ) vs EUROPEAN CLASSICAL MUSIC</strong> </p>
<p>I'm always confused why certain people act like Jazz and Classical are different and say, one can only do one or the other. Same harmony, same 12 notes, same instruments. Jazz Players borrowed most of what they do from Classical harmonic movement and took it to a new century. And now it has evolved into a lot of atonal playing, which was an obvious conclusion, but unfortunately when you get there you lose the audience. People who come hear us play work hard, long weeks and just need some fun and entertainment sometimes. <br><br>I taught at Crestwood Music Center in Eastchester for many years, before having to leave because of the Basie Band. I taught Classical clarinet and Classical saxophone, scales, triads, harmony. For those older students, we started jazz studies. I started on Classical clarinet at age 10, and that was my main instrument, I added alto to join the Fox Chapel HS Stage Band in 10th grade. I never found a good jazz teacher. Joe Jones (high school band mate) had a jazz teacher, I was envious! But like I said, in some countries there is a misconception about Classical music. All jazz masters studied scores, harmonies, etude books, played classics and many like the prior (my home town) Pittsburgh Symphony Conductor Andre Previn played jazz and classical. Wynton was not the first. Benny Goodman didn't get lessons young, he learned from records, but when he was older and moved to NYC he studied with Franz Shoepp. He recorded the Mozart Clarinet Concerto. As my pop said, he never was able to completely capture the tonality of classical clarinet but he studied it. <br><br>Jimmy Hamilton: clean and precise on the clarinet. Jimmy Hamilton was Classically trained: a student of Leon Russianoff, who considered him one of his most gifted students. Besides playing the clarinet, he was an arranger and had the privilege of being one of the only arrangers Duke Ellington used on a regular basis, the other one being, of course, Billy Strayhorn. Lionel Hampton once told me "you have the sound on clarinet like the White boys...." Now before you shout racism, coming from that time period, he meant, I had a sound on clarinet like Classically trained clarinet players which I did. He pointed out many black players could not produce that sound. <br><br>So I hope other world cultures will read about jazz history and classical history. I hope they will learn original cadenzas were the place where to soloist could show off, play his own solo; make a variation and improvisation of his own. Improvisation is NOT NEW. Most classical composers could sit at the piano or another instrument and "SPONTANEOUSLY COMPOSE" for hours. Jazz is not making something up, it is the same concept with a different feel. SPONTANEOUS COMPOSITION. Jazz is classically AMERICAN! (I'm accepting Skype Students, (worldwide) and wish to get back into teaching. Please visit my Website, or contact me through Facebook) signed The Jazz Boomer</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/62298272020-02-27T11:18:26-05:002021-07-31T18:08:45-04:00Abdullah Ibrahim Cancelled.....and other news<p>I'm sorry to announce that Mr. Ibrahim had to withdraw from the Chicago Symphony Hall concert and the 4 nights at the Blue Note New York due to the outbreak of COVID-19.</p>
<p>Also since my schedule has changed, I will not be performing with Jim Clark at the Norwalk Library on March 8, but Vincent Herring will be taking my place, so don't miss a jazz to hear this masterful player up close. 3 PM Norwalk Library, Norwalk, CT.</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735672020-01-26T02:50:59-05:002023-03-03T09:13:05-05:00Study the "Learn to Hear" Method with Marshall McDonald!<p>SKYPE LESSONS, STUDIO LESSONS, AT HOME LESSONS </p><p>All saxophones, clarinet and flute. ALL LEVELS, email me with any questions! </p><p>LEARN TO HEAR METHOD! You have to learn to hear, music is about hearing, and jazz is about expressing yourself. We study patterns and scales to make music, not to impress our friends! You want to play music that touches people. I love pop, rock, classical and jazz. Funk, soul, R & B. A musician should have an open mind and an open heart. Music is music. Respect! I can definitely make YOU a better player. Have an audition, contact Marshal Mac! I'll help ya! </p><p>Learn from the Lead Alto player from THE COUNT BASIE ORCHESTRA, with over 30 years of jazz experience on the road. You WILL learn how to improvise! How to get a GREAT sound! Play in a sax section! See improvement in 3 months! UNDERSTAND music, impress your friends and Band Members! It’s FUN to learn, the Marshall Mac Method! I will show you how to improve and have fun, from beginners to pros! </p><p>40 minute Lesson $45<br>75 minute Lesson $85<br>Four 75 minute Pack $320</p><p>(Possible student discounts available, must provide proof- click the CONTACT page above) </p><p>BIG BAND CLINICS, High Schools, Colleges, Big bands. Learn from the BIG BAND GUY! I've played with them all, I will teach you from the inside out! </p><p>CLICK CONTACT! <br>Paypal accepted! Other payment methods possible. </p><p>Etudes, Classical & Jazz. Downloads and secrets learned from George Coleman, Frank Wess, Frank Foster. Learn how to have fun! If you play in a BIG BAND, I will make you sound 200% better in a year! Learn how to swing, play in a section, how to PHRASE in a big band. </p><p>-In my over 20 year association with the original and legendary Count Basie Orchestra I have been honored to play and learn from original Basie players. Kenny Hing, Danny Turner, Cleave Eaton, Frank Wess, Frank Foster, John Williams, Mel Wanzo, Bob Ojeda, Grover Mitchell, Melton Mustafa, Dennis Mackrel, Greg Fields, Byron Stripling, Clarence Banks, Harold Jones, “Butch” Charles J. Miles, and 54 year member Bill Hughes. Amongst many others. Get it from the source!- </p><p>“Marshall McDonald is an EXCELLENT musician. Great lead alto player and great tenor player. He is a First Class musician. I always enjoy talking to him and listening to him play, saxophone players in the U.S., Japan and around the world should consider studying with Marshall!” –Vincent Herring </p><p>“Marshall has that pure clarinet sound! He has that sound of the symphony players!” —Lionel Hampton </p><p>“Marshall has always done a GREAT job in my band!” —Charli Persip </p><p>“Marshall McDonald is the REAL DEAL.” —Tim Price </p><p>“Marshall is the only guy I know who has played 4 of the 5 sax chairs in the Basie band, and all of the sax chairs in the Ellington band” —Basie veteran John Williams </p><p>Study jazz chords, scales, harmony, jazz progression theory, how to play over ii-V-I changes, bebop, post-bop, modern and funk. Learn the Count Basie style, solo methods for all saxophones, and lead alto concepts. Study saxophone and clarinet sound production, 10 years of classical clarinet training, I studied sound production with Professor Nestor Koval of Pittsburgh and Joe Allard techniques with protege David Tofani. </p><p>To improvise and play jazz, a player needs a firm foundation of scales, chords, harmony and theory. I teach a 12 key practice method, with emphasis on playing over chord changes, progressions, tunes, harmonic linear approach, guide tones, leading tones, line connections, transcription study and piano study. Big bands were originally complete with master improvisors, and much of big band dance music was made of “riffs” or jazz playing. My years with one of the last masters of riff style Big Band playing, Mr. Lionel Hampton, gives me insight on both the virtuosity of jazz players and the sponteneity of jazz players. </p><p>I’ve studied jazz harmony with George Coleman (Miles Davis alumnus), Dr. Nathan Davis, Mark Kirk (Phil Woods), Dave Tofani (Joe Allard), Lee Konitz, Frank Foster, Bob Mintzer, Joe Lovano. Clarinet with Thomas Thompson, Principal of The Pittsburgh Symphony, William Balawadjer, Professor CMU, Nestor Koval, Duquesne University, First American to Graduate from The Paris Conservatoire of Music. </p><p> My conversations with both Michael Brecker, Bob Mintzer, Frank Foster, Kenny Hing, Doc Cheatham, Charli Persip, Charlie Young, Benny Golson and dozens of jazz legends will HELP YOU PLAY BETTER!. My years of actually being “out on the road” DOING IT will help you have fun. Give Joy. Learn Music. </p><p>Marshall McDonald</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/58083632019-06-29T09:43:44-04:002023-01-26T07:37:58-05:00Benny Golson talks about Clifford Brown, live at Tokyo Blue Note<p>We were at the Tokyo Blue Note in 2017 to see Benny Golson, but he was ailing with an injury to his hand, so he spent some time talking and telling stories. I hit record on my iPhone as he started a story about Clifford Brown. Benny had just finished at tune written by Clifford. It was such a brilliant moment that I transcribed it from my phone and wrote out what he said below. </p>
<p>Benny Golson speaking about Clifford Brown:</p>
<p>.....“That was Clifford Brown, as a composer. You know, I’m from Philadelphia, back in the states, and years and years ago we used to have our jam sessions on Saturday. And we were all teenagers, 16, 17 or 18, and we all knew each other because we were always at the jam sessions every Saturday. And when we played a tune, there were so many of us there, that tune lasted an hour. And then one Saturday, while we were playing, a stranger came in, and we didn’t know who he was. And he had a trumpet under his arm. Who was this guy? Well eventually he started to play, and when he played, he sounded better than us! Who was this guy? It turned out to be Clifford Brown. Of course, he had come from Wilmington, Delaware, to Philadelphia, 30 miles, to join our jam session. Oh boy. And incidentally, nobody called him Clifford in those days, everybody called him, Brownie. Brownie is in town, with his trumpet…oh yeah….And you know time goes by, and you lose track of people, whatever happened to Brownie? </p>
<p>Brownie turned up in New York City….. on a recording, it was an all-star recording, what was it called? It was called…“Friday Night at Birdland”, and who was on that recording, let me see. Horace Silver was on piano, and Lou Donaldson, alto saxophone, Curly Russell, bass. Hank Mobley, tenor, and Art Blakey on drums, whoaaa, that was fantastic. And there was a drummer in Brooklyn, and he had heard about Clifford Brown, and this was his chance to see him and hear him. He came to one of those recording sessions, and that drummer was Max Roach. Well time went by, and Max Roach and Clifford Brown, formed a quintet. And it became very popular in that area, but they weren’t recording yet, but later, Mercury Records heard them, and heard about them-signed them to a recording contract, and now they were making records..well, they were *records* then. And everybody around the world heard Max Roach and Clifford Brown. </p>
<p>And they had, they had an important date coming up in Chicago, and the name of that club? The same name as this club, it was the Blue Note in Chicago, heh, heh, heh. Yeah and it was an important date, but you know during those days, musicians didn’t fly in airplanes…they rode the bus, took the train, or rode in a car. </p>
<p>I rode in so many cars I knew every car on the street, yeah cars. Now they were going to go to Chicago, in the car, Max Roach had his car, and he took a couple of musicians with him. Now Richard, the piano player, Richard Powell, Bud Powell’s brother. He had just gotten married, and he wanted to stay as long as possible in Philadelphia with his new wife. Well Brownie had just bought a BRAND, NEW 1955 Buick! Ah, I remember it well, and the reason I remember it, he gave me a ride in it, ohhh, it was a great car. So….Brownie, the piano player and his new bride, they were going to go at the last minute to Chicago, to play the Blue Note. So it was about 3 o’clock in the morning, and they started out, but Brownie was sleepy, so he said to Richard, the piano player, ‘Richard, I’m a little sleepy, I think I’m going to take a nap on the back seat, can you drive or your wife?’ So Richard said, ‘I’m a little sleepy too, why don’t I let my wife drive?’ Well Ok. Not much traffic, 3 o’clock in the morning, the freeway, they gotta go fast. </p>
<p>Ok, so they went to sleep and the new bride was driving the car, *but the problem was! It was raining, ah, raining so much water, so…she was about to pass one of those big trucks….and the windshield wipers were going like this…but there was so much water from the back wheels, that she couldn’t see very clear….just as the road made a right turn..she didn’t see the turn. She went straight ahead, off the highway, and ran into the bottom of a bridge. Richard Powell, his wife, and Clifford Brown were killed. Killed they were on. </p>
<p>Now I happened to be playing in Harlem, with Dizzy Gillespie at The Apollo Theatre, and we heard that Clifford Brown had been killed in an automobile accident and we couldn’t believe it. Brownie? Dead? But yeah we found out that Clifford Brown was dead. Mmmm. </p>
<p>Our next engagement, in a couple of days was California. Hollywood! Los Angeles. And I thought since we have a couple of weeks there, maybe I could write a song about Clifford…and I did. And I called that song, “I Remember Clifford”. And we’re going to play it now. And every time I play this song, I wonder…what would have happened if Clifford Brown had NOT been killed…we can only imagine because of the things that he left behind on the recordings. Yes…we still remember Clifford Brown. And it was 63 years ago that he was killed. And we still remember him, yes." </p>
<p>Benny then says.."I Remember Clifford”……. and begins to play, Benny then, ailing from a bit of a hand injury, picks up his horn, and plays the first melody of the tune, a cappella whispering, crying through his sax, breathy, and full of emotion….and then the rhythm section, Mike LeDonne, Buster Williams, and Carl Allen join him at the top of the tune. </p>
<p>Tokyo Blue Note <br>June 29, 2019</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/9695fc1cbf455fbfb11e80fe4dfe73fad0831e98/original/marshallmcdoand-bennygolson.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
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<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/58081682019-06-28T23:48:16-04:002020-03-19T21:14:42-04:00Summer gigs! <p>Have a lot of nice things coming up this summer from Tokyo, to New York, to Amsterdam! Hope to see y'all this summer!</p>
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<p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/bafa8572d9e1631a913244770e850287b27e9e72/original/marshall-mcdonald-summer-2019.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/57968312019-06-19T11:50:44-04:002019-06-19T11:54:57-04:00Momose Shokudo in Tokyo, Japan!<p>満員御礼☆マーシャル・マクドナルド JAZZプロジェクト@百瀬食堂 </p>
<p>June 16, 2019 <br>2019年6月15日、 <br>土砂降りの強風の中、</p>
<p> <br>百瀬食堂は、満員御礼130%!!! <br>お越しいただいた皆様、 <br>お気にかけてくださった皆様、<br> </p>
<p>本当にありがとうございました。 <br>やはり、奴らはすごかった!!! <br>やはり、阿佐ヶ谷が!!! </p>
<p>百瀬食堂が、ニューヨークになった!!! </p>
<p>みんなの拍手が鳴りやまない。 </p>
<p>今でも心に余韻が響き続けています。 </p>
<p>マーシャルがUPしてくれたyou tubeをここでもシェア!</p>
<p><a contents="Visit the Webpage here" data-link-label="" data-link-type="url" href="https://www.momoseshokudo.com/single-post/2019/06/17/%E6%BA%80%E5%93%A1%E5%BE%A1%E7%A4%BC%E2%98%86%E3%83%9E%E3%83%BC%E3%82%B7%E3%83%A3%E3%83%AB%E3%83%BB%E3%83%9E%E3%82%AF%E3%83%89%E3%83%8A%E3%83%AB%E3%83%89-JAZZ%E3%83%97%E3%83%AD%E3%82%B8%E3%82%A7%E3%82%AF%E3%83%88%EF%BC%A0%E7%99%BE%E7%80%AC%E9%A3%9F%E5%A0%82?fbclid=IwAR1OxRsk2CYshNdthNuaXh9dfvNF7imKFjyIK0eHH_dd0obe5j7r_svFmV4" target="_blank">Visit the Webpage here</a></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/57939832019-06-17T02:28:28-04:002019-06-17T02:28:28-04:00July 7 Connecticut<p>On July 7, I'll be playing for a private event at the Whitney Center in Branford CT, a retirement community. I always like playing there so many of those folks actually saw Count Basie, Benny Goodman, and Tommy Dorsey! It's a blast and I love it.</p>
<p>In the evening I will be at Ayuthai Restaurant in Guilford CT for some small group jazz with Jeff Fuller and David Childs</p>
<p>2279 Boston Post Rd, Guilford, CT 06437</p>
<p>6:30 PM start - 9 PM end</p>
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<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/57939822019-06-17T02:24:24-04:002019-06-22T08:02:09-04:00July 6 at Westchester Collaborative Theatre<p>Marshall McDonald Jazz Project <br>July 6, 2019 <br>two sets at 7:30 and 9 pm<br>Westchester Collaborative Theater <br>http://www.wctheater.org </p>
<p>Marshall McDonald saxophone <br>James Weidman piano <br>Noriatsu Naraoka bass <br>George Coleman drums </p>
<p>**Mr. Weidman has to suddenly travel out of town for family, and playing piano on July 6 will be David Childs.**</p>
<p>Westchester County based, (Ossining resident!) saxophonist Marshall McDonald, best known for his 20+ years on the Lead Alto chair with The Count Basie Orchestra, brings his swingin’ New York City band to the Westchester Collaborative Theatre in Ossining of July 6. Marshall has also performed with Lionel Hampton, Paquito D’Rivera, Chico O’Farrill, Abdullah Ibrahim, Duke Ellington, Tony Bennett, Rosemary Clooney, Patti Austin, The Temptations, The Four Tops, Frank Foster, Lizz Wright, Ledisi amongst many others. He has played at Carnegie Hall, Sydney Opera Hall, Royal Albert Hall, Ronnie Scott’s, Tokyo Blue Note, Nice Jazz Festival Monterey Jazz Festival, Newport Jazz Festival to name a few. Marshall is a cat who can play and swing, band, The Marshall McDonald Jazz Project has performed worldwide. </p>
<p>Marshall just returned from the 2019 Grammy Awards in Los Angeles for his role as Lead Alto on the latest Count Basie recording, and can be heard on a soon to be released Live at The Apollo: Ella 100 on Concord Records, we think this one is also going to the Grammys! In the last year alone, Marshall has played with Maceo Parker and The Ray Charles Orchestra, The Blue Note New York with The Duke Ellington Orchestra, Jazz Alley Seattle, Portland Jazz Festival, EFG Jazz Festival London, Yoshi’s, Cheltenham Jazz Festival with Abdullah Ibrahim, and Minton’s Playhouse NYC, Small’s NYC and Maureen’s Jazz club with his own quartet. </p>
<p>The Jazz Project features the best of the best of New York City. On piano, the dynamic and swinging James Weidman, a New York City mainstay. James is indisputable an essential addition to whatever bandstand he graces. A partial list of Weidman’s affiliations is staggering: Max Roach, Woody Herman, Cassandra Wilson, Bobby Hutcherson, Slide Hampton, Abbey Lincoln, Joe Lovano, James Moody, and Kevin Mahoghany to name a few. </p>
<p>The pulse of the group comes from Noriatsu Naraoka, hailing from Sapporo Japan, has been on the New York City scene for 20 years, with a big fat sound, he’s widely in demand. Nori has performed and recorded with many top industry musicians including: Grammy music award winners such as Allen Toussaint, Nicholas Payton, James Carter, Terence Blanchard and Donald Harrison. </p>
<p>And let’s give the drummer some. George Coleman Jr, son of saxophone legend “Big” George Coleman (Miles Davis), and organist Gloria Coleman, George Jr, has music in his blood. Marshall spent 4 years studying with George Coleman Sr, so the connection with George Jr is direct and felt on the bandstand. George was seven when Jazz innovator and master drummer Max Roach gave him his first set of drums and studied drums with the master, Billy Higgins, who called him “one of the most talented and creative young drummers on the NY Jazz scene.” </p>
<p>for tickets: <br><a contents="For Tickets Click here:" data-link-label="" data-link-type="url" href="http://www.wctheater.org/marshall-mcdonald-jazz-project---76.html" target="_blank">For Tickets Click here</a></p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/57939692019-06-17T01:58:05-04:002019-06-22T08:02:29-04:00July 5 at Smalls Live NYC<p>Marshall McDonald Jazz Project<br>July 5, 2019</p>
<p>Come celebrate July 4 with some New York Jazz!<br>@ Smalls Live, New York City, NY<br>Marshall McDonald saxophone<br>James Weidman piano<br>Noriatsu Naraoka bass<br>Alvester Garnett drums</p>
<p>**Mr. Weidman has to suddenly travel out of town for family, and playing piano on July 6 will be David Childs.**</p>
<p><a contents="Smalls Live Event" data-link-label="" data-link-type="url" href="https://www.smallslive.com/events/15616-marshall-mcdonald-jazz-project/" target="_blank">Smalls Live Event</a></p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735382018-08-10T17:43:29-04:002020-01-26T01:56:11-05:00Stanley & Tommy Turrentine<p>I’ve never seen this video before, thanks to Randy Brecker for posting this on Facebook, I’m from Pittburgh, and I heard about Tommy after I started getting into jazz, but never met him. The stories about all the Pittsburgh cats were legendary including George Benson, Turrentine Brothers, Roy Eldridge, my mom was at Westinghouse with some of them, Errol Garner, Earl Fatha Hines, Grover Mitchell, Mary Lou Williams was talked about, Roger Humphries came back, and is still there, Almad Jamal they talked about, I heard a lot of stories from Spider Rondinelli, there was such a scene. And then the cats my age, who were way more advanced than me, Ned Gould, Don Aliquo<span style="color: #000000;">, Frank Mallah, Andy Fite, David Budway, Leon Lee Dorsey</span>, Cecil Brooks senior, and Cecil Brooks III, Tony Cambell, Vastine Pettis was a special voice, Eric Kloss and his band were always playing, Nathan Davis was teaching at Pitt.</p>
<p>I remember Ramon Morris came back into town, we were all shacked up at Drake Smith’s house, Ramon was with Blakey once, and he was strong, Mallah, me, and some cats are hanging there. I was trying to shed and catch up. Anyhoo, I’ve never seen this video, it’s a tune by Tommy and Julian, “Long As You’re Living”, I think Stanley is killin, and Tommy is quite interesting. Max’s group, and they made a CD over there too I just learned. Personally, I think Jazz playing was better when it was more about dancing, melody and swing, and keeping the music in a place WHERE THE AUDIENCE WOULD LIKE LISTENING. A lot of music now is an exercise in what you CAN do. Just because you can run pyrotechnics doesn’t mean you have to. What if Mozart wrote everything he heard in his head in every Concerto he wrote? The audience is listening, let’s not forget, jazz is NOT A CONTACT SPORT.</p>
<p><a href="https://www.youtube.com/watch?v=2sMqlRLzMRE">Click here for Stanley Turrentine Video</a></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735392018-07-16T21:18:24-04:002020-01-26T01:54:12-05:00Minton’s Playhouse Sept 7<p>MARSHALL MCDONALD JAZZ PROJECT<br>Live at <a href="http://mintonsharlem.com">MINTON’S PLAYHOUSE OF HARLEM</a><br>SEPTEMBER 7, 2018<span class="Apple-converted-space"> </span></p>
<p>Marshall McDonald saxophones<br>Peter Zak piano<br>James Cammack bass<br>Gerry Gibbs drum</p>
<p>Saxophonist Marshall McDonald, best known for his 20+ years on the Lead Alto chair with The Count Basie Orchestra, has also performed with Lionel Hampton, Paquito D’Rivera, Chico O’Farrill, Abdullah Ibrahim, Duke Ellington, Tony Bennett, Rosemary Clooney, Patti Austin, The Temptations, The Four Tops, Frank Foster, Lizz Wright, Ledisi amongst many others.<span class="Apple-converted-space"> </span>He has performed at Carnegie Hall, Sydney Opera Hall, Royal Albert Hall, Ronnie Scott’s, Tokyo Blue Note, Monterey Jazz Festival, Newport Jazz Festival to name a few. <span class="Apple-converted-space"> </span></p>
<p>Marshall is a cat who can play and swing, his new band, The Marshall McDonald Jazz Project has performed in Tokyo and New York, is inventive and fun with that real jazz essence that makes you think you are back in the original smoke filled Minton’s of Harlem in the late 50’s. Melody, dance and swing, with the blues, that’s jazz, don’t miss this chance to hear a 30 year New York jazz veteran, Live at Minton’s!</p>
<p>The Jazz Project features the best of the best of New York City.<span class="Apple-converted-space"> </span>On piano, the dynamic and swinging Peter Zak, a New York City mainstay.<span class="Apple-converted-space"> </span>Peter has performed with George Coleman, Ryan Kisor, Walt Weiskopf, Peter Bernstein, Jon Hendricks among many others.<span class="Apple-converted-space"> </span>Marshall & Peter recorded on a yet unreleased recording session which featured Ralph Peterson. Marshall first heard Peter playing with Ryan Kisor years ago, and knew this was a cat who could play.</p>
<p>The heartbeat of the Jazz Project is the dynamic and personal James Cammack who is known for his 35 years of being the bassist for the great Ahmad Jamal, who incidentally hails from Pittsburgh, PA, as does saxophonist Marshall McDonald.<span class="Apple-converted-space"> </span>Stanley Turrentine, who recorded a famous album “Live at Minton’s” also came from Pittsburgh!<span class="Apple-converted-space"> </span>Mr. Cammack is a bass virtuoso, both upright and electric, a unique stylist and known for his innovative bass solos. You can find James on Ahmad Jamal’s newest recording, Marseille. <span class="Apple-converted-space"> </span></p>
<p>And let’s give the drummer some.<span class="Apple-converted-space"> </span>Gerry Gibbs, is one of the premier drummers of New York City.<span class="Apple-converted-space"> </span>Son of vibraphonist, Terry Gibbs, Gerry has played with the Who’s Who of the world jazz scene: Ron Carter, McCoy Tyner, Stanley Clarke, Hubert Laws, Wynton Marsalis, Joey Defrancesco, Vincent Herring, Ralph Moore, Eric Alexander, Joanne Brackeen, to just name a few! <span class="Apple-converted-space"> </span>Roy Hargrove says “Gerry Gibbs is a great musician who has a wonderful understanding of tradition.<span class="Apple-converted-space"> </span>I always have fun playing with him.”</p>
<p>for immediate release</p>
<p>Zenimac Music 2018</p>
<p>The post <a href="http://box5299.temp.domains/~marshax7/news/mintons-playhouse-sept-7/" rel="nofollow">Minton’s Playhouse Sept 7</a> appeared first on <a href="http://box5299.temp.domains/~marshax7" rel="nofollow">Marshall McDonald</a>.</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735412018-07-15T12:56:55-04:002020-01-26T01:55:51-05:00Remembering Bill Watrous<p>We lost Bill Watrous this month. A beautiful cat and genius player. Met him 20 years ago while with Lionel at the Lionel Hampton Jazz Festival. We had a conversation about a health issue I had. He gave me some real advice and remedies saying he had something similar. I started it and it helped. My doctor agreed. We kept in touch. When I would see him again, he remembered and said how is that going? Last time I saw him was 2012 at the Conn-Selmer booth during the years I was endorsing Yanagisawa<span class="text_exposed_show">, I paid my way to get there for two years to promote the horns along with Mel Martin. I said man can you play with me?? He said yeah for sure. We played some rhythm changes. I have a video of it. I wanted to try and be impressive and overplayed. Soon as I finished he looked at me said, “why don’t you play everything you know?” LOL. Lesson learned, schooled by the master !! I Love Watrous because in spite of being a legend and a pillar, he treated all of us with respect and kindness. God bless Bill Watrous.</span></p>
<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735422017-04-06T11:24:55-04:002020-01-26T01:58:29-05:00Sample Jazz Lesson<p>How to Learn Jazz, a Sample lesson with Marshall McDonald of Count Basie</p>
<p>This is Marshall McDonald, lead alto of The Count Basie Orchestra for 16 years, I’ve also played both tenor chairs and the second alto chair. Today I’m going to talk about how to learn to play jazz and improvise jazz solos. In addition I will discuss learning how to hear. Transcribing solos BY YOURSELF AND NOT READING OTHER PEOPLE’S transcriptions is today’s main topic. Reading solo transcriptions teaches you how to read music better but it involves a different part of the brain than does picking the solo off of a recording by yourself, and then writing it down. By learning it for ourselves and playing it over and over, that process puts the solo into your mind’s ear. Picking notes off teaches us how to hear the language, how to hear intervals, how to phrase, what to play over chords, how the masters approach the chords, articulation and it sharpens our ear to learn jazz in real time.</p>
<p>First, don’t slow the solo down, learn it in real time. (If it’s a really fast section you want to learn, just like Bird used to slow the turntable down to 16, you can use a computer program to slow that part down but you should try to hear the solo the best that you can in real time). You want to go slowly: play the track, listen, sing, repeat: play the track, listen, sing. Then play it on your horn and then write it down. I remember once I was at University of Pittsburgh down in the practice room area, and a buddy of mine was having trouble hearing the flatted 9th of a dominant chord. I said, man, listen to Charlie Parker on bar 9 of the blues, he hits the interval from 3 to b9 over and over again! I emphasized to sing and hear the lick the The Big Birdie played so many different places, I learned how to hear that interval by sitting with Charlie Parker tapes (yes tapes and records, mostly cassette tapes then), and I could hear that b9!! That’s the way to do it.</p>
<p>It’s much better to transcribe a few solos yourself and immerse yourself in those solos, take a solo, pick it off, write it down, then dig deep into it. Play along with the track, each day, analyze the solo, the phrases, the chords, the substitutions, articulation etc. If you want to PLAY jazz, don’t spend time being in a contest to see how many solos you can transcribe, and put into Finale and then post online….honestly, it’s better to work for a few years on 20 to 30 solos, but really dig into them. I remember a trumpet player once told me he transcribed Giant Steps, and every morning he started his day playing along with Coltrane with the solo he transcribed. Speaking of Giant Steps, there are lots of books with that solo written out, but I sat and spent the time writing out Coltrane’s complete solo myself, the only thing reading someone else’s work would have taught me was how to read better.</p>
<p> Learning solos yourself is one of THE MOST IMPORTANT steps in learning how to hear and play jazz. Along with practicing scales, chords, patterns, tunes in 12 keys etc etc. This is my method that I teach. Learn how to hear! Whether you play in a big band section, or play David Sanborn tunes, or play straight-ahead, you need to learn how to hear! You don’t have to write it for others to read, you write it so you can read. </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735432017-03-23T04:26:21-04:002020-01-26T02:08:56-05:00D’Addario Tenor Mouthpiece<p>I received one of the new D’Addario Select Jazz tenor mouthpieces from Kevin Garren at D’Addario in New York, #6, a 100 tip opening. I usually play 95 tip openings. When I first opened it, I thought to myself, the tip, the chamber walls, the curve, the facing all look very interesting, this might be something. A few days later I popped it on for a spin and was really impressed with the playability of the piece. I understand that it’s based on Jeff Coffin’s Freddie Gregory piece, with some modifications, and this mouthpiece has vibe.</p>
<p>It’s easy to play from the bottom of the horn to the altissimo, and the enunciation is great, notes come popping out with clarity, in fact so much, as the video sample above shows, I just wanted to play fast and a lot of notes! I’m playing a Jazz Select 2M reed here with my Silverstein CYRO ligature. I’ve been practicing this mouthpiece every day for the last week, and it’s a quality piece, I like the rubber, the resistance is good for a pro player, and the way notes pop out is actually quite good. I’m getting a lot of sound out of it, that reminds me of the edge Bob Mintzer and Bob Berg were getting back in the day. I recommend this mouthpiece, give it a whirl.</p>
<p><a contents="Click here to listen to New Daddario Mouthpiece" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=fFgw3opz0XU" target="_blank">Click here to listen to the new Daddario Mouthpiece</a></p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735442017-01-22T03:18:05-05:002020-09-17T02:02:30-04:00Yamano Jazz Masterclass<p>Masterclass and Jazz Clinics at Yamano Music, Tokyo Japan</p>
<p>I did two wonderful clinics at Yamano Music in Tokyo Japan sponsored by Yamano Music, Yamaha Woodwinds, and Daddario Woodwinds. We had two different Big Bands on each session, discussing What is Jazz and What are Big Bands? </p>
<p><a contents="View Yamano Clinic with Marshall McDonald of The Count Basie Orchestra" data-link-label="" data-link-type="url" href="https://www.yamano-music.co.jp/docs/ybbjc/cd/report/2015/1227bs.html" target="_blank">View Yamano Clinic with Marshall McDonald of The Count Basie Orchestra</a></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/310013/44984c407b8883dce88f49447626fe6cb769d643/original/marshallmcd.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_none" alt="" /></p>
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<p>I’m looking forward to my 2nd Jazz Masterclass at Yamano Music in Ginza, Tokyo on January 25th: What is Jazz? What is Big Band Music? I’m going to be working with the Tokyo University Big Band, and I will be focused on showing the young people how jazz is based on improvisation and the historical nature of this concept, along with basic concepts of the need for dedicated practice and understanding of harmony and theory. Many times I hear young college bands in Japan playing during their “jazz” solo, the recorded version of a solo that they memorized. I’m hoping to start reaching students all across Japan about the history of jazz music, and the importance of practice, theory and swing. Jazz is a uniquely American art form but everyone can learn to appreciate and play jazz music whether one is a hobbyist or a professional.</p>
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<p> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735452017-01-08T10:46:21-05:002020-01-26T02:02:15-05:00Tokyo Jazz – January 2017<p>Two special Jazz Gigs in Tokyo! January 13 at B Flat Club, A Charlie Parker Celebration, tribute to the great Bird! Alto Madness! Hot House, Shaw Nuff, Ornithology and more. And on January 21 at Into the Blue in Machida, Tokyo, Sonny Rollins Tribute to the great trios of Sonny, tenor sax, bass and piano! Night in Tunisia, Softly As in A Morning Sunrise, Weaver of Dreams and others!<br> </p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735462016-11-06T22:15:32-05:002020-01-26T02:04:39-05:00Study with Marshall McDonald<p><strong>SKYPE LESSONS, </strong><strong>STUDIO LESSONS, </strong><strong>AT HOME LESSONS </strong><strong> </strong></p>
<p>All saxophones, clarinet and flute. ALL LEVELS, email me with any questions!</p>
<p>LEARN TO HEAR! Learn to play, learn to hear, and have fun!! I get results, it's a method learned from years of playing. It's organic, and will teach you how to practice!</p>
<p>Learn from the Lead Alto player from THE COUNT BASIE ORCHESTRA, with over 30 years of jazz experience on the road. You WILL learn how to improvise! How to get a GREAT sound! Play in a sax section! See improvement in 3 months! UNDERSTAND music, impress your friends and Band Members! It’s FUN to learn, the Marshall Mac Method! I will show you how to improve and have fun, from beginners to pros!</p>
<p><strong>1 Hour Lesson $100.00</strong><br><strong>1/2 Hour Lesson $50.00</strong><br><strong>3 Lesson Pack $285.00</strong><br><strong>5 Lesson Pack $450.00 BEST PACKAGE!</strong></p>
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<p>Etudes, Classical & Jazz. Downloads and secrets learned from George Coleman, Frank Wess, Frank Foster. Learn how to have fun! If you play in a BIG BAND, I will make you sound 200% better in a year! Learn how to swing!</p>
<p><em>-In my over 20 year association with the original and legendary Count Basie Orchestra I have been honored to play and learn from original Basie players. Kenny Hing, Danny Turner, Cleave Eaton, Frank Wess, Frank Foster, John Williams, Mel Wanzo, Bob Ojeda, Grover Mitchell, Melton Mustafa, Dennis Mackrel, Greg Fields, Byron Stripling, Clarence Banks, Harold Jones, “Butch” Charles J. Miles, and 54 year member Bill Hughes. Amongst many others. Get it from the source!-</em></p>
<p><strong>“Marshall McDonald is an EXCELLENT musician. Great lead alto player and great tenor player. He is a First Class musician. I always enjoy talking to him and listening to him play, saxophone players in the U.S., Japan and around the world should consider studying with Marshall!” –Vincent Herring</strong></p>
<p><strong>“Marshall has that pure clarinet sound! He has that sound of the symphony players!” —Lionel Hampton</strong></p>
<p><strong>“Marshall has always done a GREAT job in my band!” —Charli Persip</strong></p>
<p><strong>“Marshall McDonald is the REAL DEAL.” —Tim Price</strong></p>
<p><strong>“Marshall is the only guy I know who has played 4 of the 5 sax chairs in the Basie band, and all of the sax chairs in the Ellington band” —Basie veteran John Williams</strong></p>
<p>Study jazz chords, scales, harmony, jazz progression theory, how to play over ii-V-I changes, bebop, post-bop, modern and funk. Learn the Count Basie style, solo methods for all saxophones, and lead alto concepts. Study saxophone and clarinet sound production, 10 years of classical clarinet training, I studied sound production with Professor Nestor Koval of Pittsburgh and Joe Allard techniques with protege David Tofani.</p>
<p>To improvise and play jazz, a player needs a firm foundation of scales, chords, harmony and theory. I teach a 12 key practice method, with emphasis on playing over chord changes, progressions, tunes, harmonic linear approach, guide tones, leading tones, line connections, transcription study and piano study. Big bands were originally complete with master improvisors, and much of big band dance music was made of “riffs” or jazz playing. My years with one of the last masters of riff style Big Band playing, Mr. Lionel Hampton, gives me insight on both the virtuosity of jazz players and the sponteneity of jazz players.</p>
<p>I’ve studied jazz harmony with Dr. Nathan Davis, Mark Kirk (Phil Woods), George Coleman, Dave Tofani (Joe Allard), Lee Konitz, Frank Foster, Bob Mintzer and Joe Lovano. My conversations with both Michael Brecker and Bob Mintzer and my years of actually being “out on the road”, living the life is invaluable.</p>Marshall McDonaldtag:marshallmcdonald.com,2005:Post/61735472016-11-01T04:24:28-04:002020-01-26T02:05:17-05:00Is Music a Viable Career Choice?<p>Rant of the Day:</p>
<p>Is being a musician actually a viable career choice?</p>
<p>Jazz artists, even famous ones like recording artists Wes Montgomery and Kenny Dorham, at various times in their lives have struggled to make a decent income. Kenny Dorham, who played with Charlie Parker, and has influenced a vast number of musicians with his playing, had to work in the post office, and then in a music store towards the end of his short life. Kenny died at the age of 48. Wes Montgomery, now considered one of the most influential jazz guitar players of all time, had many recordings, but really only came into his own on the Verve label which supported more commercial productions with strings. Hank Mobley is one of the MOST recorded jazz saxophonists in history, on numerous recordings with the famous Blue Note label, as leader and sideman. Yet his life was marred by alcohol and excesses, and without proper help, he died without much money at age 55.</p>
<p>Once someone told me, you’re on stage, you’re performing, the audience loves you, you feel exhilarated and then when it’s over you’re back in your hotel room, drained and empty while the audience goes home on a musical high. Not many people understand on a cosmic level, how much musicians “give” to people who enjoy their art.</p>
<p>But now the market is flooded with people who study jazz NOTES at colleges and music science utililizing the jazz method. Educated beyond belief with speed and technique that is unworldly; yet many young players are not expressing any soul or reaching people (of course amongst the herd come brilliantly gifted musicians, and I think music schools are great and the best place to study music, but I’m speaking in terms on the industry and art now). A lot of jazz is calculated brain music, and the people have nothing to grab hold of. Jazz should have three things, DANCE, MELODY and BLUES. If you listen closely to Ornette Coleman, John Coltrane, Don Cherry, and Eric Dolphy, you still will hear these elements in their music at all times. Jazz is historically a DANCE music, not a sitting and listening music. As Barry Harris said, they used to listen to Charlie Parker in dance halls, listened to Count Basie in dance halls, heard Duke Ellington in dance halls.</p>
<p>Jazz has not been popular music since the 60’s really, and really started dying in the 50’s when it’s child, Rhythm & Blues was born, and that led to it’s next child, rock and roll. R & B and rock were dance and party music, and it squashed it’s boring parents, “Jazz”, like a bug. Soon Jazz had another child. Funk. Miles Davis saw Sly and the Family Stone play in front of 8000 screaming people and said in his inimitable scratchy voice “I want to do that…”. When the Beatles hit the US, and those first concerts happened, the promoters had NEVER seen anything like it before, this single-handedly changed music and the industry forever. It made the idea of having 50-300 people at a concert obsolete, the promoters said, these guys sold out in thousands! The Beatles packed 8000 people in the Washington Coliseum in 1964, the old days were over!</p>
<p>Nowadays, we have many well-trained musicians, yet there is no music industry left for them. No recording industry, no steady wage jobs for the every day musician, no jingles, no radio music, no weddings, no corporate parties, only a few jazz clubs (which pay the same wage from 1979) few TV music jobs in New York or Los Angeles. For example in the 50’s, 60’s and 70’s when The Wrecking Crew, (Carol Kaye told me she hates that name) with Los Angeles musicians: Hal Blaine, Carol Kaye, Glen Campbell, Plas Johnson, Jackie Kelso and others played on every rock, pop, movie, & TV show recording that was made. Carol Kaye told me the end began in the 70s. I worked beside Jackie Kelso in the Basie band who shared with me his stories of living in a trailer outside of the studio in Hollywood because there was so much work on recording sessions. Music Union work gave you pensions, insured royalties et al, now basically sits with little power to help the average worker. Jackie Kelso made millions of dollars as a part of the Wrecking Crew. And I’ve sat at Plas Johnson’s house, whom most of you know from his tenor sax on the theme from The Pink Panther, as he described working 7 days a week in the “old” days. He said you learned your skills by practicing, transcribing solos and playing jobs until you had your own sound.</p>
<p>Nowadays, record labels are extinct, there won’t be any “Pet Sounds” by The Beach Boys or massive productions like “Sgt Pepper’s Lonely Hearts Club Band” by the likes of the Beatles anymore. No big record deals, no SMALL record deals for that matter- Eric Alexander told me back when he came up all the cats were looking to get “signed” but he said that is over for the new kids. No contracts, no music union gigs, teaching jobs at universities have new positions each year, because teaching is the new performance gig, but what’s interesting is the schools are pushing out trained musicians, onto a market which has made music an extra-curricula activity at 6 am or 4 pm! A doctorate is the new masters degree. Many can get a job with a masters of course, but most institutions want that doctorate in music. Most of us teach other people how to play music, that’s how we financially survive, and then we send them out into the world and the cycle continues!</p>
<p>Let’s throw into the mix the iPhone and other devices with streaming services (where artists little checks for a thousands of streams, for example, in amounts like a $1.80 to $11.80 for the use of their recordings), and downloads, sharing and youtube, Mp3s etc, a musician now will never sell 20 million records like Michael Jackson again. David Sanborn has had a great career, but he said the days of him selling 1 million jazz records are finished. Artist make 1 to 5 points on the dollar with record label deals that is they get 5 cents on a every dollar sold. Ray Charles made a great deal like that AND he said I want to OWN my music, recordings which was UNHEARD OF PREVIOUSLY. The label gave in and said yes. Of course he was Ray Charles and we are not.</p>
<p>Most artists for Motown became broke, no money, no good contracts, no residuals, that’s the reason they worked the rest of their life. One artist, vocalist Darlene Love, had Number one hit records, and ended up working as a maid!</p>
<p><i>“Darlene also vividly recalls the period in her life when she disappeared from the music scene and fell on hard times. One day, while working as a maid in Beverly Hills, she heard herself on the radio and vowed to make a comeback, and so she has, with appearances in all four Lethal Weapon movies, starring roles on Broadway and headlining concert tours worldwide.” </i></p>
<p><i> </i>Maybe you remember seeing her on The David Letterman Show, he loved her voice so much he had her on his show every December singing the hit song, “Christmas”.</p>
<p>David Sanborn: let’s say he sold a million records back in 1981, he got a dollar per record-that’s a million dollars for him, but now even Sanborn can’t do that now. So where does that leave the rest of us? He lives off his residuals and tours with his band makes him money. And he is one the THE most important pop jazz artists of history.</p>
<p>YouTube is one way people try to become famous, and now a lot musicians are independent, using their own money to record, promote, make a website in hopes to be discovered or get rich. YouTube is now flooded with individuals hoping to get a piece of the pie. The monetization system on YouTube has been changed, making it more difficult for the average person to make a profit. It seems to me that everyone is using music and making money on music except the people who are actually <i>playing</i>the music. Music is played in stores, banks, restaurants, TV shows and everywhere but the average salary for a musician in the US is $21,00 a year.</p>
<p>One musician told me he started with Count Basie in 1970 for $300 a week and it was difficult because Basie made them pay for their own hotel rooms on the road and you maintain an apartment also for in between tours. I pointed out that $300 in 1970 in 2018 dollars would be $1950 and few musicians make $1950 a week in 2019, in addition Mr. Basie was working about 40 weeks a year then. Musicians still work in major cities for $75-100 for a jazz gig. People play big band gigs in NYC on 46th St and get $20 each, I know, I got a call like that just last November! Better to be a waiter at that club in Manhattan than play music!</p>
<p><em>It is said that is takes 10,000 hours to master a craft. </em></p>
<p>After 9/11 the decline in music continued even a faster downward spiral, Society Jobs became nil, weddings decreased and one of the most famous Wedding agencies of New York, Stephen Scott Music, closed it’s doors. In New York, you saw the best of the best playing weddings and privates, Bob Mintzer and others. At one time in 1988 – 1999 I was able to supplement my career with 100 weddings a year, yet now the remaining bands have 25 live band weddings a year, all the rest are DJ.</p>
<p>In the past, the artist had support from the record company, studio time, advertising, radio airplay etc. That’s over, except for those who make a “big break”. TV shows make it appear that anyone can get lucky and make a big “break”, but that is TV fantasy. Bands which seemed like an overnight sensation actually had years of preparation and practice to reach success. Including the Beatles themselves! I love The Beatles. Their accomplishments were only possible because of financial support from big record companies. Charlie Parker with Strings, and Miles Davis recordings in the 60s had large financial support! Try paying for the Philharmonic to play on your self produced CD!</p>
<p>Well, things will continue to get worse, because now people can’t tell that the music they hear is more watered down, and not as culturally relevant as it was in the past. A lot of pop music is manufactured in the studio to make money as a “hit”, with someone singing who has a “look”, and has nothing to do with making a relevant piece of music. Snarky Puppy is a good, funky band, but so many people are not aware of the path to that led to Snarky Puppy via Tower of Power, James Brown, Parliament, The Brothers Johnson, The Brecker Brothers, Weather Report, Herbie Hancock, Miles Davis’s Electric band etc etc. Awareness of music history makes it more interesting and understandable.</p>
<p>Chicago, Earth wind and Fire, Emerson Lake and Palmer, Yes, Sly and The Family Stone, Marvin Gaye, Stevie Wonder, Genesis, The Beatles, Lionel Richie–once people had to sit at the piano or with a guitar in their hand and learn chords and write songs, now you have artificial musicians using computers and stuff to “write “ music. Melody. What happened to that novel idea. Beatles. Carole King. Dolly Parton. Holland-Dozier-Holland. Song writers. Where is the music now? And where is the concept that we as a society love music so much, that we will pay a musician or artist a living wage? Well, even Mozart died poor.</p>
<p>Music is one of the most important aspects of any great civilization and music historically has been used for Dancing, Singing, Spirituality and Communication. It’s an embarrassment that artists have such a difficult time making a decent wage.</p>
<p>Me: “I’m a musician……” Reply: “Yes, but what do you really do, what’s your job?”</p>
<p>Rant off.</p>Marshall McDonald